Blues Cross Country – PEGGY LEE****

Kansas City/Basin Street Blues/Los Angeles Blues/I Lost My Sugar In Salt Lake City/The Grain Belt Blues/New York City Blues/Goin’ To Chicago Blues/San Francisco Blues/Fisherman Wharf/Boston Beans/The Train Blues/ St. Louis Blues

Blues Cross Country in unusual album from Peggy Lee as she sings the blues to a backdrop of American locations. A young Quincy Jones provides the orchestrations.

“The results aren't perfect, but Blues Cross Country is a concept album with blues and road song themes. Although there isn't much outright jazz, the sensibility is there just beneath the surface.”

“This incredible LP brings together the wondrous vocals of Miss Lee and tremendous orchestrations by Quincy Jones. Every track is a show-stopper, intricately woven together with hard-hitting vocals and tender ballads. Basin Street Blues is enough to make you cry, while Kansas City can blow out your speakers.”

“While this album has a definite bluesy feel, I'm not sure that this can be truly described as a blues album (it is quite upbeat - more of a big band album than a blues album). However, it is a masterpiece so who cares?”

“Peggy co-wrote about half the songs here, the remainder being covers of classics songs sometimes re-interpreted by Peggy - so even these songs may not sound quite as you might expect, but everything here is brilliant. There is a mix of swinging uptempo songs with tender ballads.”

“It is hard to pick highlights from an album of such outstanding quality, so I won't. From the opening Kansas City to the closing this is an album of never-ending delights, recorded by a lady at the peak of her powers.”

“Her voice is in its prime, with that enveloping, sensual airy cushion of sound yet capable of manifesting surprising power when the need arises (it's easy to forget that she came up as a big band singer). She makes the familiar tunes Basin Street and St. Louis Blues sound fresh, while the new material sounds instantly approachable. The arrangements of Quincy Jones simply seal the deal.”

Beyond The Reef – EARL GRANT****

Beyond The Reef/When Sunny Gets Blue/Tender Is The Night/The Very Thought Of You/Yellow Bird/Angel Eyes/ Mood Indigo/The Second Time Around/Make Someone Happy/Swingin’ Gently/Londonderry Air/Climb Ev’ry Mountain

On Beyond The Reef Hammond organist and vocalist Earl Grant reprises the formula of his earlier hit album performing standards in an easy listening jazz style. (US:17)

“If you like Hammond organ recordings this is one of the best. Earl Grant is wonderful on these standards. If you haven't heard him do yourself a favour and try this one.”

“He was the ultimate lounge lizard Hammond organist. Beyond The Reef is one of his best exotica albums complete with Hammond organ, wind effects and the best bird calls. His back up musicians playing sax, string bass, drum set and guitar are all top notch players as well. The ballads are ultra smooth and slow. His blues and jazz are super also. Give this great artist a try, you won't regret it.”

“His style is more of an easy-listening jazz sometimes peppered with 'exotica' effects, but even on these tunes it's not as kitschy as it could get. He does well combining Hammond and piano as well.”

“Grant was a good player and arranger, his arrangement of Angel Eyes is haunting.”

“His organ playing is as good as it gets, and to this day, he is the king of jazz-pop.”

“Many organist were overshadowed by Jimmy Smith and his followers. What many people don't see is that there are different styles of music. Jimmy and his clones play hard bop, whereas Earl Grant had a smoother more relaxing style.”

“It's utterly amazing how Earl navigates his way through the music, playing both the organ and piano at the same time.”

“The smooth melodic voice combined with his mastery of the organ is haunting and wonderful. Mr. Grant had a style all his own. Original and never duplicated.”

All American – BROADWAY CAST***

Overture/Melt Us/What A Country/Our Children/We Speak The Same Language/Its Fun To Think/Once Upon A Time/Night Life/I’ve Just Seen Her/Physical Fitness/The Fight Song/I Couldn’t Have Done It Alone/If I Were You/Have A Dream/I’m Fascinating/The Real Me/Its Up To Me/The Fight Song (Reprise)/Its Fun To Think (Reprise)/What A Country (Reprise)

The Broadway musical All American starred Ray Bolger and Eileen Herlie. It opened in March 1962 at the Winter Garden Theatre and ran for 80 performances. Plot involves the conflict between sports and science students on an American college campus, based on the book by Mel Brooks. Music by Charles Strouse, lyrics by Lee Adams. (US:21)

“It has a bright score, excellent dancing and a theme which is still timely: an immigrant professor on an American college campus learning what it means to be an American and falling in love with the dean of women. You'll hum and whistle its tunes once you get to know them.” “It is a great collection of songs, as well as a great script. It is a shame it never did well on Broadway. The songs are worth listening to if you like musicals, especially the type that came out in the early 1960s.”

“From the great overture, to the wonderful comedy numbers, to the lovely ballads, the score always has your attention. Performance wise, it does have its share of flaws. Ray Bolger does a good job, though it is nothing to get excited about. Eileen Herlie, who plays the dean, has an annoying vibrato.”

“This is a good show with excellent music by Charles Strouse. Sad to say, on this recording the songs are poorly performed by the leads, Once Upon A Time, a beautiful song, especially so.”

“The song Once Upon A Time is fabulously beautiful. The main problem with this production is that Ray Bolger does not even attempt to sing except for a few notes. He was a dancer, not a singer.”

“The music in it is great. The songs are humorous and melodic. They go with the musical quite well. I wouldn't call it the best because Eileen Herlie can't sing without an annoying vibrato. Other than that the cast does an excellent job of it.”

Album Seven By Rick – RICK NELSON***

Summertime/Congratulations/Baby You Don’t Know/I Can’t Stop Loving You/Excuse Me Baby/History Of Love/ Today’s Teardrops/Mad Mad World/Thank You Darling/Poor Loser/Stop Sneakin’ Round/There’s Not A Minute

Album Seven By Ricky includes teen idol Ricky’s final recordings on the Imperial label before he moved to Decca. His new label was not to know that his hit making career would soon be over. (US:27)

“Very polished and consistent pop/beat album. Excellent electric bass and vocal production throughout.”

“Having good writers shape material for him was a boon to Nelson, and if nothing here quite rises to the level of his biggest hits, there is much good early-'60s pop/rock. The covers of Summertime and I Can't Stop Loving You are effective.”

“The recordings he was making in the early '60s suggested Nelson had made the transition from the earnest, derivative music he performed at the start of his career, to a stream of high-quality material that would seem to assure him a place near the top of the pop heap, which is probably why at this point Decca made him an unprecedented offer and spirited him away from Imperial. Who could have known that his hit-making days were just about over.”

“Nelson's final Imperial release before leaving for Decca, Album Seven was his last hurrah. Much of Album Seven displays a decidedly country edge, particularly in James Burton's guitar licks.”

“The range of songs runs from rock, pop to country. The rock version of George Gershwin's Summertime still stands out to this very day. Stop Sneakin' 'Round has a very unique sound and syncopated rhythm. Many of Rick’s songs were way ahead of their time.”

"Album Seven is not among the top tier of Nelson albums, but is still a solid collection of songs. The kick-off track, a rock version of the Gershwin standard Summertime, is one of Rick's most overlooked recordings. Play this one for anyone who ever accused Nelson's music of being 'bubblegum'. The album closer, There's Not A Minute, is one of the saddest songs I've ever heard. There's a strong country feel on songs like Congratulations and Can't Stop Loving You, and plenty of rock and roll on Stop Sneakin' Around and Excuse Me Baby.”

Adam Faith – ADAM FAITH**

Watch Your Step/I’ve Just Fallen For Someone/I’m Coming Home/All These Things/Its All Over Now/Come To Me/If I Had A Hammer/A Help Each Other Romance/Sho’ Know A Lot About Love/Second Time/I’m Gonna Love You Too/Little Yellow Roses/As Long As You Keep Loving Me/You & Me & The Gang

With his limited vocal range British teen idol Adam Faith was somewhat out of his depth with this more adult material. This might explain why his second LP stalled at a relatively disappointing UK album chart placing. (UK:20)

“Adam Faith was a teen pop singer performing lounge material, sort of a Bobby Darin concept, except that Faith didn't have Darin's talent. His voice is pleasant enough but small.”

“It must be admitted that Adam Faith did not have a great voice being very limited as it was. He did however use his voice with his own special style. This combined with talents of John Barry gave Adam a string of hits in the early sixties.”

“Adam's early hits were mainly uptempo rockers, but he gradually switched his recording policy and his later hits were mostly ballads. He was never really a balladeer, though.”

“You would have had to have been of the late 50s and early 60s young generation to have known Adam and the impact that he had on that early era of UK rock ‘n’ roll, along with Cliff Richard and Billy Fury. He wasn't the greatest singer in the world, but he had an attraction and personality that appealed to a vast number of fans, as well as establishing a niche for catchy and memorable pop songs.”

The Midnight Special – HARRY BELAFONTE****

Midnight Special/Crawdad Song/Memphis Tennessee/Gotta Travel On/Did You Hear About Jerry/On Top Of Old Smokey/Muleskinner/Makes A Long Time Man Feel Bad/Michael Row The Boat Ashore

Midnight Special was an album of folk and blues traditional songs notable for the first appearance on record of Bob Dylan who plays harmonica on the title track. (US:8)

“Great interpretations of folk and blues traditionals and spirituals, like Midnight Special (with a young Bob Dylan on harmonica), Crawdad Song or Muleskinner.”

“Good voice, good selection of songs, but the arrangements on some tracks are too big band over the top for me.”

“This record is pleasant enough, but is more important as a historical document because it features a young Bob Dylan on harmonica.”

“The Midnight Special is a record that best exemplifies Harry Belafonte's uniqueness as a recording artist. Belafonte's main strength as a performer has been his ability to effect unique interpretations of traditional material. Combining blues, big band, gospel and soul, Belafonte utilizes mainly traditional material on one of his best programmed albums of the sixties.”

“The first track, Midnight Special, has Bob Dylan playing harmonica. This music really showcases Belafonte's talent. On both Memphis Tennessee and Makes A Long Time Man Feel Bad, Belafonte makes you feel the blues.”

“This is my favourite Belafonte album because of its overall excellence of song selections.”

Nancy Wilson/Cannonball Adderley – NANCY WILSON & CANNONBALL ADDERLEY****

Save Your Love For Me/Teaneck/Never Will I Marry/I Can’t Get Started/The Old Country/One Man’s Dream/ Happy Talk/Never Say Yes/The Masquerade Is Over/Unit 7/A Sleepin’ Bee

Nancy Wilson/Cannonball Adderley was a unique collaboration between rising young vocalist Nancy Wilson and jazz stalwart Cannonball Adderley and his band. (US:30)

“This might be the only vocal jazz album I've ever paid for, and I don't regret it. Nancy Wilson...well, what can you say? She's expressive, flexible, energetic, dynamic, and, unlike many other jazz vocalists, her voice is pleasant to listen to.”

“Nancy doesn't just accompany or merely sing along with the Adderley band. Rather, she joins, then attend, then blends, automatically and easily, and climactically complements the sultry and teasing saxophone riffs and solos."

“Cannonball is his usual joyful self, the rest of the band are great, and Nancy Wilson is right on the money and very expressive.”

“Nancy Wilson's voice is like silk, and she is the highlight of the LP. The Masquerade Is Over is the runaway song. The instrumental tracks are excellent as well - the Adderley brothers harmonize well together, and there's a good mixture of swingin' and relaxing music. You can't go wrong with this.”

“The choice of songs is not perfect, but most of the music on this album is good and some is marvellous. On several tracks, Nancy doesn’t sing. On One Man's Dream and Unit 7, the band swings and features Cannonball and others with nice solos. But the best tracks are those with Cannonball and Nancy together.”

“Nancy Wilson's best set on record. The combination of Cannonball, Nat and the inspiring rhythm makes for an historical performance. Pure passion and emotion shoot out at you with some heart-felt renditions.”

“One of the top albums of all time, Cannonball pulls Nancy Wilson to the heights of her singing career. This is a must have recording.”

Tops With Me – HELEN SHAPIRO***

Little Devil/Will You Love Me Tomorrow/Because They’re Young/The Day The Rains Came/Are You Lonesome Tonight/A Teenager In Love/Lipstick On Your Collar/Beyond The Sea/Sweet Nothin's/You Mean Everything To Me/I Love You/You Got What It Takes

When Tops With Me was released young teenager Helen Shapiro had achieved four recent UK top three hit singles, including two chart toppers. She was top of the bill at the London Palladium and with her powerful voice looked all set for a long and successful career. Cruelly, within six months her top twenty chart career would be over. (UK:2)

“Helen had two years of mega fame and then with the advent of the Beatles era, faded from view. She was a much underrated talent and was cruelly over exposed by her management.”

“Helen Shapiro had a handful of pop hits early in her career when she was under 16 years old, but she is too often remembered as a novelty, mostly because her voice was preternaturally deep and husky, and her bouffant was big enough to hide a small child.”

“In this LP Helen Shapiro covers hits of a wide range of American songs with different styles, and incredibly she is able to stamp her personal touch on all of them, some sound even better by her than the originals.”

“Unable to make her own career decisions due to her youth, she was exploited and milked for all she was worth by people who did not seem to understand her phenomenal and unique talent, and who could not see further than the current pop scene. Rather than being carefully nurtured for a lifetime as a sultry torch, blues and ballad singer, she was recording virtually identical bouncy pop material with a strong beat and yea, yea, yea, backing group. Fortunately her crystal clear diction overrode the backing because you could hear and still remember every word.”

“Helen would have been wonderful with the types of songs popularized by Patsy Cline - the slow heartbreaking torch numbers, but this was not to be.”

“Helen Shapiro had a great singing voice, with great stage presence, but sadly was very badly managed.”

Tonight – FERRANTE & TEICHER****

Tonight/King Of Kings/La Strada/The Way You Look Tonight/Thousand & One Night/Shalom/Moon River/Smile/ Lover’s Lullaby/Lili Marleen/Twilight/I’ll Be Seeing You

Tonight features a collection of romantic numbers from the piano duo Ferrante & Teicher, with the title track a US top ten hit single. Purely instrumental records were a lot more popular in the 1960s than in subsequent decades. (US:11)

“The music is wonderful and the pianos are amazing. I could listen to them all day.”

“The paired pianos of Ferrante & Teicher are supplemented by instrumental accompaniment. Bouncy enough to attract your attention but subdued enough to serve as background music.”

“Ferrante and Teicher are masters at turning background music into music that refuses to be ignored.”

“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. No blasting jarring big acoustics here to destroy the ambience. Yes they don't write or play them like this anymore.”

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

A Song For Young Love – THE LETTERMEN****

A Song For Young Love/I’ll Be Seeing You/Smile/It Happened Once Before/When I Fall In Love/The Way You Look Tonight/Come Back Silly Girl/Valley High/In The Still Of The Night/Dreamer/There’s Got To Be A Girl/ Blueberry Hill

A Song For Young Love was the debut album from the Los Angles harmony group The Lettermen. Includes three US top twenty hit singles, When I Fall In Love, The Way You Look Tonight and the drippy Come Back Silly Girl. (US:6)

“They just had great chemistry, their voice types matched well, and the result was a unique sound, a great blend. This original period, far and away, represents their best material, and is some of my favourite music of all time.”

“The Lettermen harmonized just about better than any group I've ever heard; and they sang with all their hearts.”

"On Blueberry Hill they harmonize so sweetly; the strings complement their singing perfectly and I love every minute of it. The Lettermen prove with this tune they were champs. When I Fall In Love is equally bright; this is a major highlight of the album and it's truly very beautiful featuring The Lettermen harmonizing to perfection, and beyond. In addition, The Way You Look Tonight shines brightly and The Lettermen never skip a beat.”

“The Way You Look Tonight is absolute perfection, a wonderful song. This must be the best group ever. So romantic. I shall play it over and over.”

“What vocals, what harmony, these guys had it together, plus the memories of a simpler time.”

“This great era of music should never have ended. Thankfully, the recordings endure.”

“Simple melody, simple words, simply great. Come Back Silly Girl is one of many that reflect the musical, and actual, innocence of the early 60s. I wish my children, and now grandchildren, could have had the absolute joy of turning on a radio and hearing a song like this for the first time. How fortunate I feel to have lived through that era.”

Maria – ROGER WILLIAMS***

Maria/Moon River/Shalom/The Way You Look Tonight/Don’t Blame Me/Whirlaway/Amor/Tonight/Smile/Eventide/ I Don’t Know Why (I Just Do)/I’ll Be Seeing You

The pianist Roger Williams is often overlooked today, but during the years 1956-66 he was never out of the US album chart. One of his more commercially successful albums was Maria. (US:9)

“Strangely enough, this music can sometimes be pleasantly soothing. The calmest and slowest music you can imagine. Hard to judge the right moment to listen to this record.”

“Owner of a refined taste and free of the pyrotechnical exhibitionisms of Liberace for instance, he truly elevated the level of this genre to unsuspected heights.”

“Williams made his mark on the charts as an easy listening pianist with a string of instrumental hits that spanned the rock 'n' roll years of the late 50s and early 60s.”

Horn A-Plenty – AL HIRT****

Holiday For Trumpet/That Old Feeling/Easy Street/Baby Won’t You Please Come Home/Till There Was You/ Margie/Swing Low Sweet Chariot/Theme From Carnival/Do Nothin’ Till You Hear From Me/Rumpus/Memories Of You/I’ll Take Romance

Trumpeter Al Hirt moves away from his traditional Dixieland fare on Horn A-Plenty to provide an eclectic mix of popular, standard and show tunes with arrangements by Billy May. (US:24)

"In an effort to showcase him in a different musical setting, Hirt was teamed with arranger and composer Billy May to record the album Horn A-Plenty. It was a departure from the Dixieland material that he was generally associated with. Covering an eclectic variety of popular, standard and show tunes, it featured a big-band supplemented by timpani, French horns and harp.”

“Backed by a big band arranged by Billy May, Horn A-Plenty was the label's push to establish Hirt as the virtuoso he truly was, rather than building on his reputation as a Dixieland horn-blower.”

“Coupled with Billy May and his arrangements and hand picked musicians, it is a powerhouse of brass and swing band performances. Just the trumpet back-up makes this a rare and sweet memory of big band trumpet music.”

“I'll Take Romance, Swing Low Sweet Chariot and That Old Feeling are done in a blistering up and down rendition that only Al Hirt can pull off. I'm sure Al was 'blowing away' the sidemen behind him with such high and low octave work at such rapidity that the boys were talking about this gig for years afterwards. Perhaps the most stimulating and bittersweet arrangement is on Memories Of You, which just flattens your mind and emotion with such intense feelings of a love lost.”

Greatest String Band Hits – BILLY VAUGHN***

Carolina In The Morning/Bye Bye Blackbird/Japanese Sandman/Put On Your Old Grey Bonnet/I’m Looking Over A Four Leaf Clover/Happy Days Are Here Again/Chinatown My Chinatown/Alabama Jubilee/Smiles/In A Shanty In Old Shanty Town/Baby Face/Oh You Beautiful Doll

Greatest String Band Hits was a collection of old time tunes given the Billy Vaughn orchestral treatment. Most of these tracks date from the 1920s or earlier. (US:18)

“Billy Vaughn was Music Director at Dot Records while recording various best-selling albums with his own orchestra.”

“The band has a smooth and easy listening sound, which makes it great for background music while I'm working at my desk. This LP has a lot of old classic tunes that I remember hearing as a kid, and brings back memories of seeing my Mom and Dad dancing to these same songs.”

“Because Billy Vaughn had big hits in Latin America, South America, Africa, Japan, Hong Kong, Australia, Sweden, Germany and of course the US, among other countries.”

“Billy Vaughn is arguably the most under-appreciated musician of the 50s and 60s.”

Danny Boy – ANDY WILLIAMS****

Danny Boy/Tammy/The Twelfth Of Never/I’m Old Fashioned/Come To Me Bend To Me/Secret Love/The Heather On The Hill/Can I Forget You/It Could Happen To You/I Want To Be Wanted/Summertime/Misty

Danny Boy was the first release from Andy Williams during his lucrative contract with Columbia. The LP contains old time tunes and standards with plenty of strings in the background. (US:19)

“He sang some show tunes, some old standards, and some songs that had been hits for other people recently. Danny Boy adopted a consistent style of arrangement, the songs performed as lush ballads with lots of strings.”

“For the listener encountering this 40 years later, the treat is getting to hear Williams singing standards like Come To Me Bend To Me, Summertime and Misty, in his rich voice.”

“Sometimes the notion of an 'early' album suggests lesser quality recordings or something else a little dodgy. Have no fear in this case, however, for by the time Andy Williams recorded Danny Boy the studio had found the way to bring out the full qualities of his warm, lustrous singing. These are comparatively old-fashioned songs, but they are sung with such masterful control it fills the room, and inspires the listener to join in with full-throated abandon.”

“This is the most romantic Andy Williams album. Produced at the beginning of his career, it shows Andy at the peak of his singing ability. His vocal range is astonishing; his ability to hold a note unlike any other singer. I love I'm Old Fashioned and It Could Happen To You. Backup instrumentals are terrific as well.”

“Danny Boy, the title track has Andy squarely front and centre. You can tell he truly feels the words he's singing by the way he delivers this, and other songs here, so passionately. Tammy is delightful; and I really like other gems including The Twelfth Of Never with Andy never sounding better; Come To Me Bend To Me with those strings in the background as Andy sings; Secret Love that sparkles in Andy's more than capable hands, and memorable treatments of other ballads including the romantic Misty with that sophisticated piano arrangement.”

College Concert – THE KINGSTON TRIO****

Little Light/Coplas Revisited/Chilly Winds/Oh Miss Mary/Laredo/O Ken Karanga/Roddy McCorley/MTA/500 Miles/ The Shape Of Things/Where Have All The Flowers Gone/Goin’ Away For To Leave You

College Concert was the third live album from The Kingston Trio, recorded at the University of California, Los Angeles in December 1961. The humour and banter may today be considered rather dated. (US:3)

“College Concert is a genuine experience of how engaging The Trio really were in concert. Laughter was almost as much a part of the performance as the music itself, as they were fabulous showmen. The music was tight, balanced and infectious. I have heard this album literally hundreds of times, and it never grows old.”

“College Concert could be The Kingston Trio's best live album. Released in 1962, the attraction here is that the versions of M.T.A. and Where Have All The Flowers Gone done live are arguably superior to the better known studio versions. Equally impressive are their beautiful version of 500 Miles and the high energy of Roddy McCorley. In terms of original material, the trio wrote Coplas Revisited and Stewart co-wrote Chilly Winds and Oh Miss Mary all of which appear early on, in an apparent effort to get them out of the way. It was pretty clear that the group's strength was always in arranging the material of others than in writing their own.”

“There are three great things about this group: the singers are great, every song is catchy and interesting, and the albums are very funny. The last especially caught me by surprise, since I always thought that The Trio would be a serious folk group, but, on College Concert, they crack several jokes which are definitely not dated at all. If you're looking for a good folk album with a lot of heart, you can't go wrong here.”

“The Kingston Trio had a combination of musicianship and humour that is so lacking in today's music. They held a close rapport with the audience from the moment they came on stage, and the variety of songs made the experience a delight. This album is an excellent example of The Kingston Trio's performing abilities.”

“The performances on College Concert are superb, though the humour and banter now seem dated and unnecessary. They add fresh interpretations of old songs, as well as capturing Where Have All The Flowers Gone in one of its earliest performances.”

Down Home – CHET ATKINS****

Salty Dog Rag/I’m A Pilgrim/Trambone/Steel Guitar Rag/Little Feet/Blue Steel Blues/Windy & Warm/I Ain’t Gonna Work Tomorrow/Never On Sunday/The Girl Friend Of The Whirling Dervish/Give The World A Smile/Tuxedo Junction

Down Home, as the laid back title suggests, sees guitar picker Chet Atkins returning to his country roots with a few of his friends helping out on bass, percussion, piano, harmonica and saxophone. (US:31)

“Shows Chet Atkins at his mellow best, although the saxophone in some of these pieces forms a remarkable counterpoint. If you have never heard Chet Atkins, this is for you.”

“Even after all these years and all the great guitarists who have followed, Chet Atkins is still the best. If you have never heard Chet pick before, it will make you appreciate true artistry. Turn down the lights and listen with someone special.”

“Down Home features Chet and friends playing the type of music you would image them playing on the back porch. It is laid back country picking at it's best.” ,p> “It is an exceptional small ensemble performance - guitar, bass, percussion, piano, harmonica and saxophone - guaranteed to brighten your day. It fits right in with those beautiful Saturday mornings, when the world is fresh and you are full of a sense of well-being. You don't have to like country music to enjoy this recording. This LP unfailingly brings me joy every time I hear it.”

“Down Home, displaying on the cover a picture of the homely guitarist on a front porch with his faithful dog at his feet, was a return to the country picking for which he was known. Atkins' playing is always tasteful, no matter the surroundings. Of course it's Chet all the way. It's just wonderful.”

Swings Gently With Nelson – ELLA FITZGERALD*****

Sweet & Low/Georgia On My Mind/I Can’t Get Started/Street Of Dreams/Imagination/The Very Thought Of You/ It’s A Blue World/Darn That Dream/He’s Funny That Way/I Wished On The Moon/It’s A Pity To Say Goodnight/ My One & Only Love/Body & Soul

Swings Gently With Nelson is an essential album for Ella fans. She is in peak form and the arrangements by Nelson Riddle provide her with the perfect backing.

“There is not a single indifferent song on this album, and never do the standards of musicianship from any of the performers waver: Swings Gently is perfection throughout. It's not even easy to pick out one track that is better than the others, but special acknowledgement is, perhaps, demanded by Body & Soul, a touchstone of the jazz musician's art since the '20s.”

“This is an album of the most magical, achingly beautiful music-making. It really is one of those records which, in the words of one of the numbers so lusciously performed here, 'makes a cloudy day sunny'. There was no kind of popular song written between 1920 and 1960 that Ella Fitzgerald couldn't handle, and as a result, it's almost absurd to compare one of her albums with another. However, for sheer transcendent beauty, it's hard to beat this set of gorgeously rendered ballads.”

“Oh boy, is this a treat. One of those albums whose discovery really makes life seem better. Riddle's arrangements are simply breathtaking; lush, heady, saturated with nostalgia, but with a powerful slow swing, as if cast for some dance band in heaven, they provide a magical backdrop for Ella at her most forthright and soulful."

“She is absolutely in peak voice on this album and when combined with Riddle's dance band arrangements you have pure musical magic and there is not a weak track on this album. She was a genuine talent and boy could she sing. Everything is totally flawless, precise and well-executed - it's utterly sublime.”

“Ella shines in every way on this album and Nelson Riddle's arrangements and orchestra are impeccable. She is in her prime vocally and uses that incredible voice like one of the instruments reminiscent of the great jazz musicians. No wonder there are no female vocalists today that come close to this lady. She set a standard that can't be matched. And it is no wonder she loved to work with Nelson. He is in a category unto himself.”

So Much In Love – RAY CONNIFF****

Autumn Leaves-Just Walking In The Rain/I Fall In Love Too Easily-My Heart Stood Still/Dancing On The Ceiling-Dancing In The Dark/I Wish I Didn’t Love You So-Bewitched/Whatever Will Be Will Be-True Love/Chances Are-Its Not For Me To Say

Unusually for a Ray Conniff LP every track on So Much In Love is a medley, pairing songs of love and romance. Easy listening music such as this was very popular with the grown ups of the time. (US:5)

“It is romantic and still is one of my favourites. It reminds me of falling in love. The background music is truly great and each arrangement is exceptionally good. If you like The Ray Conniff Singers like I do, you will love this.”

“I loved this music when I was young and I still think Conniff and his singers did a fabulous job on this album. Romantic, upbeat, creative, gorgeous sound, this just has everything. Perhaps my favourite track is the pairing of Dancing In The Dark and Dancing On The Ceiling. This album was made in the early days of stereo recording when engineers took pains to separate the 'right' content from the 'left' content, and that shows up nicely on some of these recordings, at least if you listen carefully.”

“Now, if you are a 'Classic Conniff' lover, how could you possibly omit this one from your collection? This is without a doubt one of the very best from this genius musician and arranger. Using an extraordinary blending and un-blending of the male and female voices, the entire production is a classic case in stereo effectiveness. This LP includes six 'mini-medleys' of genuine standards. It moves effortlessly from melancholy love songs to those that will make your heart rate increase a bit. Wonderful depth, matchless stereo, and pure Conniff.”

“The Ray Conniff Singers are definitely of the period. This particular album is one of the group's best, with less schmaltzy arrangements and creative group execution.”

“If you are a romantic person who loves somebody, this album was made for you; a precious collection of medleys to make you wish and dream with the person who you want to be with. All are romantic songs in the incredible style of The Ray Conniff Singers.”

“This LP is a treasure. Easy listening, good music, they don't make 'em like this anymore. The music is a love arrow to the heart of people in love, and on the way.”

Sing Out! – The LIMELITERS****

Jehosephat/Everywhere I Look This Morning/Pretty Far Out/The Lion & The Lamb/Golden Bell/A Wayfaring Stranger/Charmin’ Betsy/Gilgarry Mountain/Marvin/The Little Land/Joy Across The Land/Gotta Travel On

Sing Out! was the second studio album from American folk group The Limeliters were mostly appreciated for their live performances. Glen Yarbrough had a moderately successful career later in the decade. (US:14)

“Sing Out!, found them back in the recording studio for the first time since their self-titled debut album, and although it was a good collection of folk songs and novelties, the loss of the live element was noticeable.”

“We'll sing until we die, The Limeliters explain in Jehosephat, and after that, we'll sing up in the sky. I can't imagine any three individuals more qualified to sing with the angels or whose music is better suited to keeping their listeners forever young.”

“Though The Limeliters are not well known anymore, their heyday coincided with the peak of The Kingston Trio's popularity. Glenn Yarbrough went on to a moderately successful solo career and was clearly the 'first-among-equals' in The Limeliters.”

“The Limeliters' humour and musical skills are as fresh on this album as they were when I first heard them. Time has, indeed, stood still for their unique presentation.”

“Yarbrough's tenor was fabulous, and the way Lou and Alex's voices blended with his, and the superb range of their instrumental expertise, made for something magical.”

“The superlative sound of The Limeliters has held up wonderfully well. The blend of voices and instrumentation that left us open mouthed in delight, tapping our feet and nodding our heads in time to the music, is there in all its glory.”

“I was raised on The Limeliters and other groups of the folk era, and I have not ceased to enjoy the quality of the music. The richness of humour, folklore and history are qualities that aren't found in the music being produced today. The blend of the trio's voices, and the simplicity of their instrumentals, make this a joy to listen to. I believe it transcends generations and will do so for many to come.”

Live It Up! – JOHNNY MATHIS****

Live It Up/Just Friends/Ace In The Hole/On A Cold & Rainy Day/Why Not/I Won’t Dance/Johnny One Note/Too Much Too Soon/The Riviera/Crazy In The Heart/Hey Look Me Over/Love

Live It Up! was the second album in which Johnny Mathis was paired with Nelson Riddle and his Orchestra. Riddle worked with many of the greatest vocalists of the time. (US:14)

“Boasts arrangements by the great Nelson Riddle, whose sublime orchestral work helped take this high on the 1962 charts.”

“Riddle fully understood the Mathis preference for lush romantic ballads; using a backdrop of strings to anchor the chosen repertoire.”

“One of only two albums Mathis recorded with Nelson Riddle and most of Riddle's arrangements are such great swingers.”

“Live It Up! surpasses the previous effort and pulls out all the stops to present a dozen tracks which swing wildly through sizzling Riddle arrangements that can still excite the listener today. There are some splendid tracks here even among the uptempo tracks.”

“More than half of the tunes on Live It Up were unfamiliar to me and some were perhaps best left on the cupboard shelves.”

“Nelson Riddle was at his peak as arranger at this time and he arranged albums for a whole host of different stars in the 1960s. This is one for both Johnny Mathis and Nelson Riddle fans to enjoy.”

“I was not familiar with a lot of these songs and am glad to have added this to my collection. I know that anyone who appreciates JM's voice and talent will be glad they got this one.”

"The title song sets the pace with Love, The Riviera and Johnny One Note amongst the up-front swinging gems, with Hey Look Me Over another example that shows Johnny's sheer enjoyment of the occasion with perfect phrasing and sense of rhythm. Only On A Cold & Rainy Day and Crazy In The Heart does the pace slow ever so slightly.”

Your Twist Party – CHUBBY CHECKER***

The Twist/Rock Around The Clock/Blueberry Hill/Whole Lotta Shakin’ Goin’ On/Ballin’ The Jack/Twistin’ USA/ Let’s Twist Again/Hound Dog/Mexican Hat Trick/The Hucklebuck/Mister Twister/I Could Have Danced All Night

Your Twist Party was a compilation LP that gave the King of the Twist Chubby Checker his highest chart album placing. As well as many dance tracks it includes his interpretations of some classic rock & roll tunes. (US:2)

“This record is a compilation of tracks from his first, second and fifth albums. It includes the original hit, the follow-up Let's Twist Again, and a bunch of other mostly interchangeable novelties and twistified standards. Perhaps the most interesting is Mister Twister, because of the humorous spoken interludes.”

“A magnificent novelty item to have on the shelf The Twist and Let's Twist Again are OK, if you can mentally separate them from the ridiculous craze they fuelled. The rest are a mix of competent but unnecessary covers and more attempts to milk the Twist phenomenon.”

“The folks at Philadelphia based Parkway Records took a competent R & B singer named Ernest Evans, rechristened him Chubby Checker, and recorded a carbon copy of an obscure 1958 tune by Hank Ballard called The Twist. The record went on to spawn one of the largest dance crazes of the 20th century, and pretty much pegged Checker as a one-trick pony for the rest of his career.”

“The mood is light, buoyant, and fun throughout, as anyone familiar with any of Checker's singles would assume.”

“King of the Twist is a good description. The tracks are all very good dance tracks.”

Wimoweh – KARL DENVER***

Wimoweh/China Doll/Open Up Dem Pearly Gates/Shin Gan Goo/Mexicali Rose/Vella Langa/Zimba/Rose Marie/ Blue Yodel/If I Had My Way/Marcheta/The Peanut Vendor

Karl Denver achieved several top ten singles in Britain during the early 1960s. He specialised in folk music often with an international flavour. His only hit album was Wimoweh which includes three UK top ten singles, the title track plus Mexicali Rose and Marcheta. (UK:7)

“Karl Denver is something of an acquired taste but, if you are lucky enough to acquire that taste, then this is a real find.”

“It's amazing to think that The Karl Denver Trio was able to hold its own in the charts during the early days of Beatlemania. They had a static, almost middle-age stage presence and sang music that completely flew in the face of the beat groups."

“Nostalgia aside, this album still sounds good and has a certain 'something', with interesting little quirks that make it something other than 'run of the mill'. I was struck by what a talented artist Karl Denver was - I particularly like the traditional 'folk' ballads.”

“Karl's music embraced folk music from around the world and he carved his own niche in the UK record market. Beginning in the summer of 1961, Karl reeled off several UK top hits. Wimoweh was the biggest of these, and remains the song that Karl is best remembered for.”

“I was delighted to lay my hands on this album. What happy memories of a time when a guy like Karl - who was no teenager, not good looking, unusual voice, even stranger choice of material - could make a huge impact on the charts.”

“This guy had the most unusual voice, a talent that you don’t see/hear anymore. I remember him from my younger days, so this album brings back all the times when music was really music.”

The Vamp Of The Roaring 20’s – DOROTHY PROVINE***

Baby Face-Looking For A Boy-Hallelujah-There’s Yes Yes In Your Eyes/Doin’ The Sigma Chi-Bashful Baby-Freddy The Freshman/Thinking Of You-Memory Lane-If You Want The Rainbow-Revenge-I Know That You Know-I’m Just Wild About Harry/Hard Hearted Hannah-Singin’ In The Bathtub-California Here I Come/You’ve Got That Thing-He Looks At Her & Then He Goes Ha Ha Ha-Somebody Loves Me-Crazy Rhythm/I’m Gonna Charleston Back To Charleston-Tip Toe Through The Tulips With Me-Thou Swell-Ain’t We Got Fun/Bambalina-Happy Days Are Here Again-The Love Nest/The Man I Love-Mama Goes Where Papa Goes-Swanee

Vamp was the follow up collection of medleys from the popular TV series The Roaring 20’s starring Dorothy Provine. She appeared as a night club singer in nearly every episode. (UK:9)

“Dorothy Provine, provided the vocals to the songs from 'The Roaring 20s' a hit TV series beginning in October 1960 and finishing in September 1962. She plays Pinky Pinkham, the singer at the Charleston Club, who performed songs from the 1920s in almost every episode.”

“Dorothy Provine has the type of voice that can sing the sweet and sentimental tunes as well as the more uptempo sassy hits of that era. A great LP to put on at parties and when you are perhaps in a more reflective mood.” ,p> “Dorothy had a pleasant voice that was just right for the character she was playing. She sang with gusto on songs like Swanee and California Here I Come and with sincerity on The Man I Love. This cross-section of 20s music is outstanding, containing not only standards that we all still know and love today, but also novelties that have been long-forgotten, all recorded in state-of-the-art 1960s stereo.”

“We can never hope to have this kind of wonderful music on TV again. She's such a fantastic singer, she should have done Broadway. The arrangements are scintillating, and the rest of the company is so talented. The sound is clear as a bell. If you love good music, especially the great standards, don't miss this one.”

“There are many popular songs from the 20s and Dorothy Provine has the perfect voice to belt them out. I highly recommend it.”

“Dorothy had that beautiful old-school Hollywood look about her and a wonderful voice. She is not known primarily as a singer but she was a very competent one as is shown here.”

The Two Sides Of – JOHN LEYTON***

Voodoo Woman/Can’t You Hear The Beat/Fabulous/Thunder & Lightning/Oh Lover/I Don’t Care If The Sun Don’t Shine/(I Love You) For Sentimental Reasons/That’s A Woman/Walk With Me My Angel/That’s How To Make Love/Magic Of True Love/Its Goodbye Then

The Two Sides of John Leyton was the sole album release from this early sixties actor turned temporary teen idol. His first four top twenty singles, including the UK No. 1 Johnny Remember Me, were magnificent atmospheric songs produced by the legendary Joe Meek. None of them are on this LP, so a compilation CD of his work is a much better investment.

“It contains three Geoff Goddard titles, which are remarkable for their distinctive windswept melodrama, which Leyton's edgy swooping vocal style superbly defines. Lovers of early 60s British pop will find all the composite ingredients of the era herein; plucked double bass, pizzicato and glissando strings, galloping beats on the snare drums, female contralto backing vocals and huge choruses.”

“With initial production handled by Joe Meek, John would enjoy a major hit with Johnny Remember Me, whilst the Two Sides album was intended to showcase his talents as both a rock 'n' roll and ballad singer.”

“The Two Sides Of John Leyton, shows the talents of the producer Joe Meek, rather than the singing talents of John Leyton. After having a hit with Johnny Remember Me, it was time to rush an album out for John Leyton, or so it seemed. This was Joe Meek’s turn to show what he could do, and from the opening of Voodoo Women to the end track of Its Goodbye Then, this LP is probably the best thing to come out of England before The Beatles."

“Not much of a singer, his hits are most notable for Joe Meek's inventive production, which utilized ghostly female backup vocals, variable-speed pianos, and swirling wind effects. Most of Leyton's earliest, and most successful, material was written by Geoff Goddard, heavy on loner melodrama, it often used pseudo wild west galloping rhythms and lyrical themes."

“The sounds created by Joe Meek are like an aural Christmas tree. Many wonder how he achieved this in the recording studio in his flat without the benefits of the digital age. John Leyton was not a great singer, but the total production values of his hits, and the Two Sides LP, were a revelation at the time.”

Twist With – THE VENTURES***

Driving Guitars/The Twist/Road Runner/Gringo/Moon Dawg/Guitar Twist/Opus Twist/Movin’ & Groovin’/Sunny River/Let’s Twist Again/Shanghied/Bumble Bee Twist

Twist With The Ventures provides another collection of upbeat instrumental tracks with several of them predictably exploiting the Twist craze, already wearing a little thin for some critics. (US:24)

“Like many Ventures albums, Twist With is quite uneven, filled with competent covers of familiar rock and pop hits of the era. Everything is given the familiar, reverb-heavy Ventures treatment, but some choices don't work nearly as well as others and the Twist theme wears thin by the end. In other words, it's a set that's primarily of interest to collectors and hardcore fans.”

“Twist With is a very good album that features exclusively uptempo numbers. Driving Guitars, Road Runner and Movin' & Groovin' are particularly excellent.”

“As always, the sound is full, professional, and features the clean and distinct sound of the combo. Excellent songs are Roadrunner, Driving Guitars and Bumble Bee Twist.”

Time Further Out – THE DAVE BRUBECK QUARTET****

It’s A Raggy Waltz/Bluette/Charles Matthew Hallelujah/Far More Blue/Far More Drums/Maori Blues/Unsquare Dance/Bru’s Boogie Woogie/Blue Shadows In The Street

Follows the same blueprint as the highly successful Time Out album in which jazz musician Dave Brubeck performs a suite of numbers in differing time sequences. Time Further Out includes the top twenty UK hit single Unsquare Dance, a rare jazz entry. (US:8 UK:12)

“A worthy successor to Time Out. An innovative combination of classical bold tempi with cool jazz rhythms. It starts with the waltz of It's A Raggy Waltz and the moody Bluette, both in a 3/4 beat. Far More Blue and Far More Drums are in the same vein as the well known Take Five, with an absolute gorgeous drum solo on the second one. A tribute to the Maori people Maori Blues is followed by the interesting and unique Unsquare Dance, a solely rhythmic piece with an sweeping tap-dancing performance. Blue Shadows In The Street brings it to an end with a balanced and comforting treat for the ears.”

“The whitest and most mathematically inclined of all jazz pianists does another numerical suite, performing pieces in 3/4, 3/4, 4/4, 5/4, 5/4, 6/4, 7/4, 8/8 and 9/8 time, and far from this being just a mathematical exercise, it's actually a set of nine highly swinging, even danceable tunes. Featuring the same line-up of Paul Desmond, Eugene Wright and Joe Morello as on Time Out, this album is even better, willing to take risks and dive into unusual rhythms and moods. While many people might still regard this as easy listening jazz, this is in fact some of the more advanced and sophisticated Brubeck out there. Maori Blues and Unsquare Dance are the highlights.”

“Pretty good easy-listening jazz. The saxophone here has a soft, unobtrusive tone and never moves at a blistering pace. There are a couple of fun numbers, the upbeat Bru's Boogie Woogie and the more interesting time signature play on Unsquare Dance, in 7/4. But in the end it's mostly more of the same from Time Out, with fewer really memorable tunes. Don't expect anything mind blowing or revolutionary.”

“Time Further Out really goes much further than where Time Out takes you. It moves you between moods and modes, shifting from waltz to jazzy blues, progressing to a more upbeat mood, but never losing the jazzy blues effect with each selection as you continue listening into the album.”

Take Good Care Of My Baby – BOBBY VEE****

Take Good Care Of My Baby/Will You Love Me Tomorrow/Remember Me Huh/He Will Break Your Heart/Who Am I/Run To Him/Walkin’ With My Angel/Raining In My Heart/Go On/Little Flame/So You’re In Love/Hark Is That A Cannon I Hear

The early 1960s was the era of clean cut teen idols and Bobby Vee epitomized the genre more than any other. The single Take Good Care Of My Baby reached No. 1 in the US and Run To Him stalled one place lower. (US:91 UK:6)

“Forget the negative press Bobby Vee has gotten over the years. For those of us old enough to have enjoyed the music of the period Vee's recordings made a lasting impression on our minds and dreams. Leave it that he was underrated to a fault, and that this album was a high watermark of his recording career.”

“Bobby Vee has a way with a song. He is simply unmatched as a vocalist and is one of the most underrated singers around. Whereas a lot of the music from Bobby's era sounds dated, the music here is timeless.”

“What teenage girl didn't love Bobby Vee. A great trip down memory lane. The songs and vocals are as good as they were then, they aged well. You'll love this.”

“I always enjoyed Bobby Vee, even though he was way before my time. Simple straightforward pop songs, clearly sung and hugely enjoyable.”

“Take Good Care Of My Baby is a stunning number and when Bobby sings this it shines just as brilliantly as it ever did. Run To Him is another romantic ballad but of course it is melancholy. Bobby never sings a superfluous note.”

“Take Good Care Of My Baby features an irresistible melody along with inspired and sincere lyrics. Add to that an equally strong vocal performance by Bobby Vee and you have one of the greatest hits of all time.”

“Walkin’ With My Angel is a wonderful upbeat, happy song from a great era. The late '50s and the early '60s were the heyday of the so-called 'teen idols'. Almost all of these 'idols' were of Italian ethnicity, including Bobby Vee. Most of the music then was positive and danceable. What a difference from most of today's music.”

Shirley Bassey – SHIRLEY BASSEY***

Love Is A Many Splendored Thing/The Nearness Of You/Fools Rush In/Who Are We/Angel Eyes/Till/A Lovely Way To Spend An Evening/This Love Of Mine/You’re Nearer/Goodbye Lover Hello Friend/Where Or When/ Where Are You/Climb Ev’ry Mountain

Shirley Bassey was at the peak of her popularity in the early 1960s, appealing to the adult market with her interpretations of the MOR ballads of the day. Shirley Bassey includes Climb Ev’ry Mountain, a British No. 1 hit single. (UK:14)

“Shirley Bassey is a fine LP. Love Is A Many Splendored Thing and Till are particular favourites. The whole album is good however. Geoff Love and his orchestra provide fine backing musicianship. Shirley Bassey followers will be thrilled with this one.”

“A pleasing if uneven collection of songs, accompanied by Geoff Love and his orchestra. Once one gets past the most questionable track here (the opener, no less), a version of Love Is A Many Splendored Thing that Bassey belts out to a too-loud accompaniment, everything is a winner. The best cut here, and one of the highlights of her early recording career, is The Nearness Of You, a dark and moody, totally sensual experience in which her voice gently washes over the listener. Fools Rush In isn't far behind, and she also acquits herself well on the bluesy Angel Eyes, which breaks up the pacing and mood around all of this charmingly ethereal pop.”

“I purchased this LP, which was my first Bassey record, nearly ten years after it was released, and I became a fan instantly.” ,p> “Because of its colourful harmonic changes, Angel Eyes is a very popular jazz standard which has inspired many original interpretations, including Shirley's recording.”

Second Time Around – ETTA JAMES***

Don’t Cry Baby/Fool That I Am/One For My Baby/In My Diary/Seven Day Fool/Its Too Soon To Know/Dream/I’ll Dry My Tears/Plum Nuts/Don’t Get Around Much Anymore

Second Time Around is the follow up album from blues artist Etta James where she again demonstrates her versatility and emotional delivery on a variety of musical styles.

“Her record company was unsure whether to market her as an R & B singer or to press her toward mainstream adult pop and jazz. This album presents both sides of the coin, with James doing rousing R & B numbers such as Seven Day Fool and the proto-soul of Don't Cry Baby, lounge tunes like One For My Baby, the jazz-flavoured ballad Fool That I Am, Ellington's Don’t Get Around Much Anymore and a cover of the pop standard Dream. It hardly matters, though, for James's emotional immediacy and potent delivery make all the material her own.”

“Her follow up album contains a better variety of songs and more complex arrangements with less clutter to them.”

“Etta has made more famous recordings but Second Time Around will always be one of her landmark achievements. It has track to track excellence.”

“Etta James's second album isn't what you pull off the shelf when you want to hear her belt some soul. Like her debut, it found Chess presenting her as more or less a pop singer, using orchestration arranged and conducted by Riley Hampton, mostly tackling popular standards of the '40s. If you're not a purist, this approach won't bother you in the least; James sings with gusto, proving that she could more than hold her own in this idiom as well.”