The Sound Of Johnny Cash – JOHNNY CASH***

Lost On The Desert/Accidentally On Purpose/In The Jailhouse Now/Mr Lonesome/You Won’t Have Far To Go/In Them Old Cottonfields Back Home/Delia’s Gone/I Forgot More Than You’ll Ever Know/You Remembered Me/I’m Free From The Chain Gang Now/Let Me Down Easy/Sing It Pretty Sue

Like many albums of this period from prolific country star Johnny Cash his Sound Of LP failed to chart. Nevertheless, he was building up a strong fan base for his commercial success later in the decade.

“A nice little nugget of early Johnny Cash. In The Jailhouse Now is funny, witty and well played, and the original version of Delia's Gone is cool too.”

“One of Cash's better albums - the song selection is fantastic and the arrangements - even with backing vocals - are pretty good. Also, it features his original take on Delia's Gone which is great, and the excellent Sing It Pretty Sue and Mr. Lonesome.”

“I didn't appreciate the music or the talent of Johnny Cash until I was at an older age than my parents when they played this album. Now it is a different story and I'm glad I found this in their collection of albums.”

“The Sound Of Johnny Cash is the thirteenth album by country singer Johnny Cash, released in 1962. Among other songs, it contains In the Jailhouse Now, a Jimmie Rodgers cover and Delia's Gone, which Cash would re-record years later.”

“This is pitifully dull material, and the anticipation of hearing the Man in Black's original version of Delia's Gone is quickly lost as this rendition is far more peppy than dark. A mere curiosity as one of Cash's first releases, but steer clear if you're smart.”

Best Of – THE KINGSTON TRIO*****

Tom Dooley/The Tijuana Jail/Scotch & Soda/Bad Man’s Blunder/Raspberries Strawberries/Everglades/MTA/The Merry Minuet/Where Have All The Flowers Gone/Billy Goat Hill/Take Her Out Of Pity/A Worried Man

By the time this compilation album was released The Kingston Trio were coming to the end of their reign as the leaders of the American folk revival. Both Bob Dylan and Peter Paul & Mary had released their debut LPs which shifted the emphasis away from traditional folk towards protest songs. (US:7)

“They don't make music like this anymore. It's unfortunate, because the folk era of the late 50s and early 60s was one of the greatest in the history of popular music. The Kingston Trio rank with The Beatles in terms of changing the musical landscape. They provided the inspiration and opened the door for a whole generation of performers. Not many artists can claim to have left such a mark.”

“Naturally, you can't take a group like The Kingston Trio and condense their 'greatest hits' into a single LP. However, this is a good album to start with if you're just discovering The Kingston Trio; more diehard fans will appreciate collections that are much more substantial.”

“Folk music was very popular in the early sixties and The Trio were at the top of their game. It's easy, entertaining, toe-tapping music, the kind you can sing along with. There's not much of that kind anymore.”

“I immediately fell in love with their style, their rhythm, their harmonies, their incredible energy, their musical arrangements and the sense of fun they conveyed in their performances.”

“To anyone who has been a fan of popular and/or folk music from the late 50s to the present, you'll be thrilled hearing again all these wonderful songs. Though you've probably heard each of them a countless number of times, you just never tire of them. It would be an understatement to say that they are some of the best loved songs of America.”

“The Kingston Trio were one of the most stellar groups rising out of the pop woof and warp of the late 1950s singing traditional folk songs, popularizing them to the point of creating a cottage industry with imitators by the score.

Bashin’ - JIMMY SMITH****

Walk On The Wild Side/Ol’ Man River/In A Mellotone/Step Right Up/Beggar For The Blues/Bashin’/I’m An Old Cowhand (From The Rio Grande)

Bashin’ was the first album release from jazz Hammond organist Jimmy Smith after moving from Blue Note to the Verve label and featured arrangements by Oliver Nelson. (US:10) “First side with a big band with arrangements by Oliver Nelson, second side is with the trio Smith-Warren-Bailey. Highlights are a nice version of the classic Walk On The Wild Side, the self-penned Bashin' and the grooving I'm An Old Cowhand.”

“A popular jazz album in 1962 was this session featuring Jimmy Smith, with Walk On The Wild Side being a great favourite with jazz aficionados and pop fans alike. The song peaked at No. 21, no small achievement for a jazz musician at that time. Smith's music for the movie is probably better remembered than the film itself, although the entire set is a real jam session. Ol' Man River and the title tune Bashin' are also excellent numbers. This jazz LP is a nice trip down the music memory lane.”

“This LP has some really smokin' playing by Jimmy. It's highly recommended. The big band backup of Oliver Nelson, with whom Jimmy collaborated for a good number of recordings really adds to Bashin’. It's real powerful stuff all the way through."

“The arrangements by Oliver Nelson are splendid. Numbers like Step Right Up and Walk On The Wild Side are worth five stars.”

“This disc, released in 1962, captures the artist at a transition period, and proves that no matter the band, year or label, Smith was a consistently compelling artist.”

“While fans of Smith's lower-key trio work for Blue Note may cringe at the blare of horns and the grandiose dynamic shifts, Smith is still in uber-cool form, and his Hammond plays the groovy foil to Nelson's occasionally square arrangements.”

“On the first half Smith was for the first time joined by a big band. Oliver Nelson provided the arrangements, trumpeter Joe Newman and altoist Phil Woods have a solo apiece, and Walk On The Wild Side became Smith's biggest hit up to that point.”

Don’t Play That Song – BEN E. KING***

Don’t Play That Song/Ecstasy/On The Horizon/Show Me The Way/Here Comes The Night/First Taste Of Love/ Stand By Me/Yes/Young Boy Blues/The Hermit Of Misty Hollow/I Promise Love/Brace Yourself

As well as the title track Don’t Play That Song also contains the best known solo single from the former lead singer of The Drifters, Ben E. King. Stand By Me, reached No. 1 in the UK when re-released in 1987.

“Apparently Ben E. King actually did record other songs besides the timeless Stand By Me. This LP, one of his earliest apart from The Drifters, is cheesy and nerdish right down to that laughable shot on the cover. The music is warm, satisfying and easy to embrace but the aforementioned Stand By Me is the only true compositional triumph.”

“The title track's good, and there's a lot of filler, but it also has Stand By Me, which is one of the best songs ever recorded.”

“I was captivated by the sound of Ben E King's voice, the lyrics to the songs and their orchestration.”

“Opening up with Don't Play That Song and followed through with a string of his early singles and their B sides. The LP winds up with Brace Yourself, which is very fitting as you will be....for another listen.”

“Don't Play That Song is pure ear candy, with the B sides of King's hits being as enjoyable as the chart toppers. Especially nice to hear is On The Horizon, which could have been a hit on its own and The Hermit Of Misty Mountain. A great LP for fans of R & B music of the 1960s.”

“His honeyed voice on the album's opening title track can induce goose bumps. He also really shines on the march-like Here Comes The Night and the light rock number The Hermit Of Misty Mountain."

State Fair – SOUNDTRACK****

Overture & Main Title-Our State Fair/It Might As Well Be Spring/That’s For Me/More Than Just A Friend/ Isn’t It Kinda Fun/Willing & Eager/Never Say No To A Man/Its A Grand Night For Singing/This Isn’t Heaven/The Little Things In Texas/Our State Fair Finale

The remake of the romantic musical State Fair starred Pat Boone, Bobby Darin and Ann-Margret. Music by Richard Rodgers, lyrics by Oscar Hammerstein II. This version includes some new songs by Richard Rodgers. (US:12) >p> “The 1962 version of this film is rather unimpressive. Ann-Margret almost justifies the radical rearrangement of Isn't It Kinda Fun that turns it into a mambo halfway through, but the new Rodgers songs are a waste of talent.”

“Not up to the usual Rodgers & Hammerstein standard. Lots of repetitive instrumentals, not many vocals. Rather boring.”

“The rarely-seen (or heard) 1962 movie has the souped-up Isn't It Kinda Fun belted out by Ann-Margret for all its worth. Alice Faye sings a new number Never Say No To A Man while Bobby Darin croons a new ballad This Isn't Heaven.”

“The original Rodgers & Hammerstein score was composed at the height of their powers and still holds up after 60 plus years. The 1962 remake retains the best tunes and adds several new ones by Rodgers, all first class. Additionally it reintroduces the inimitable voice of Alice Faye.”

“The new songs, written by Rodgers alone, are a mixed bunch. Never Say No To A Man is just plain odd, although it is a nice number for Faye's voice. Sweet Hog Of Mine fits perfectly, although some of the others feel like padding.”

“Much has been written about the fact that Richard Rodgers' additional songs weren't up to the six originals, but they are necessary - the original score contained only one character driven song, and no love songs at all, so even if they are sub-par, Willing & Eager and This Isn't Heaven are welcome opportunities to allow the two couples to express themselves in song, and the charm of Faye and Ewell's It's The Little Things In Texas compensates somewhat for the loss of All I Owe Ioway. Moreover, the additional songs transform a mini-musical into a true musical.”

Point Of No Return – FRANK SINATRA****

When The World Was Young/I’ll Remember April/September Song/A Million Dreams Ago/I’ll See You Again/ There Will Never Be Another You/Somewhere Along The Way/It’s A Blue World/These Foolish Things/As Time Goes By/I’ll Be Seeing You/Memories Of You

Point Of No Return was the final Capitol album of new Sinatra material. Some critics suggest that as it was only recorded to fulfil his contract his heart was not really in it. (US:19)

“This, the last Capitol album, reunites Sinatra with Alex Stordahl. An uneven record, but the highlights are very good. It's a treat to hear Sinatra take on These Foolish Things, As Time Goes By and I'll Be Seeing You."

“An underrated gem, Point Of No Return features an absolutely sublime reading of As Time Goes By, a rather overplayed chestnut that gets an unusually subdued, nuanced performance from Sinatra. Also noteworthy is his reading of When The World Was Young. Superb.”

“This is Sinatra's contractual obligation album, to finish off his career with Capitol, and though it may not be up there with some of the classics he recorded for that label, it's still a fine, underrated album.”

“This album long suffered the reputation of being, if not the black, then at least the grey sheep among Sinatra's Capitol long-players. It was recorded mainly to fulfil the singer's lingering contractual obligation to Capitol Records, and Sinatra's heart wasn't really in the project. The album as a whole lacks some of the passion with which Sinatra had almost invariably approached his Capitol studio sessions.”

“Out of all of Sinatra's Capitol concept album, this one is the weakest. Yes, it's filled with standards, but at this point, Frank had already started his own label, Reprise. He was avoiding recording for Capitol but he was still contractually obligated to provide one more album. This is the result. You can tell that Frank is not particularly interested in the recording. He seldom comes to life and just goes through the motions.”

“As his last album for Capitol Records, you'd think Frank would have supplied this 'contract filler' with a batch of leftovers and throwaway tunes. I was extremely surprised when I first heard this album, it is absolutely beautiful.”

S’Continental – RAY CONNIFF****

The Continental/The Whiffenpoof Song/Beyond The Sea/Swing Little Glow Worm/The Poor People Of Paris/ Strange Music/Tico-Tico/The White Cliffs Of Dover/African Safari/Morgen/Lisbon Antigua/Green Eyes

S’Continental s’reversion to the quirky titles of Ray Conniff’s earliest LPs. With changing musical tastes there would be a dip in the chart placing of his future albums. (US:6)

“The songs were secular standards, in this case many with a European origin (though The Continental, of course, came from the continent of Hollywood), and the voices were back to 'da-das' and 'doot-doots.' The result was another top ten hit and a lengthy stay in the charts. Conniff's return to the form of his first albums accurately suggested that he was repeating himself, and this album marked the end of his most popular period.”

“This is one of the best of Ray's classic albums, the songs are terrific and with the best energy of Ray's orchestra and chorus; many of the tunes have dancing themes, like The Continental and Swing Little Glow Worm. There are beautiful romantic ballads like La Mer and Strange Music and typical European ballads like The Poor People Of Paris and Lisbon Antigua. This is an excellent LP.”

“If you like the orchestral and wordless arrangements of Ray Conniff then this is an LP I can recommend. I especially enjoyed the jazzed up version of Glow Worm and the rendition of the White Cliffs Of Dover. Ray Conniff presents some of the most entertaining tunes in his repertoire. Enjoyable listening for everyone.”

“A delightful trip into the past. Beautiful music, excellent arrangements.”

“This is one the absolute best of Conniff's albums, I never get tired of hearing it. I have all of his albums from 1956 to 1966.”

Peter Paul & Mary – PETER PAUL & MARY*****

Early In The Morning/500 Miles/Sorrow/This Train/Bamboo/Its Raining/If I Had My Way/Cruel War/Lemon Tree/If I Had A Hammer/Autumn To May/Where Have All The Flowers Gone

Peter Paul & Mary was the incredible debut album from the talented New York folk trio and includes several of their own compositions. It features the US top ten hit single If I Had A Hammer. They would take over from The Kingston Trio as the leading American folk group with a greater focus on political protest. (US:1 UK:18)

“For a young group on their first album, this was meticulously produced and already showed their incredible sense of professionalism. From their close harmonies to tightly interleaved guitar picking, each song radiates perfectionism. Mary's voice is a lilting bird reaching above Peter's tenor and Paul's bass, adding brilliant highlights and enforcing the sense that these songs just couldn't be sung any better.”

“The album contains some beautiful folk music from a time when that genre was popular. Many of the songs are written by the group. The trio sound wonderful together. They have wonderful phrasing, intonation and balance. Perhaps some of the modern groups should take a cue from them.”

“This LP is a delight. Here is where we were introduced to three great voices and the selection of songs is very good. There is a mixture of classic and new folk songs. The early 60s folk revival is in full bloom here.”

“There are so few artists making vital music now that I have been craving to listen to music with meaning, power and passion. When I replayed this album, its majesty and beauty really hit me. I can understand and appreciate how popular the album was. Vocally, the trio are inspirational, and Peter and Paul's guitar playing is magnificent. This is what music is all about.”

“What strikes me about Peter, Paul and Mary above everything else is the way they can take a simple melody and make it magical with gorgeous vocals and honest emotions. It's genius because most bands can't pull off simple and honest emotions in such a beautiful and memorable way.”

“This record is just so doggone good, it's hard to find adjectives that can praise it enough. Folk singers are at their best when, as here, they're young and idealistic.”

No Strings – BROADWAY CAST****

The Sweetest Sounds/How Sad/Loads Of Love/The Man Who Has Everything/Be My Host/La La La/You Don’t Tell Me/Love Makes The World Go Round/Nobody Told Me/Look No Further/Maine/An Orthodox Fool/Eager Beaver/No Strings/Finale-The Sweetest Sounds

The Grammy winning Broadway musical No Strings starred Diahann Carroll & Richard Kiley. It opened in March 1962 at the 54th Street Theatre and ran for 580 performances. Based on a book by Samuel A. Taylor about a romantic entanglement between a fashion model and a novelist. Lyrics and music by Richard Rodgers. (US:5)

“A great recording of a beautiful score with a stunning cast. It is the only show that Richard Rodgers wrote both the music and lyrics.”

“No Strings was Richard Rodgers' first big project following the death of Oscar Hammerstein II. The score is youthful, peppy, romantic and quite modern for the time. The score is a real delight, featuring the classic Sweetest Sounds as well as several juicy numbers for Carroll and Kiley, both solo and as a duet.”

“Despite some weak lyrics here and there, the score is the finest of Rodgers in the post-Hammerstein era. You'll have little trouble following the story as most of the songs are laundry lists that give examples to support their titles, but the best tracks provide enjoyable listening experiences.”

“The songs on this album are all splendid. Perhaps Rodgers faltered in his musical writing abilities later on in his career, but not with this album. If you care about musical theatre, you must buy this. The voices are splendid and The Sweetest Sounds ranks with RR's top tune melodies.”

“From the first time I heard The Sweetest Sounds I knew this LP would be one of my favourites. Each song is unique and wonderful in its own way. There are some melancholy, haunting songs and also some upbeat and humorous songs. This is definitely an album you'll listen to over and over, and the songs will soon be stuck in your head.”

“There are some OK songs, Look No Further for example, but take the idea that No Strings is a great Rodgers score with a big grain of salt. Most of the other songs are completely forgettable.”

Nat King Cole Sings/George Shearing Plays – NAT KING COLE & GEORGE SHEARING*****

September Song/Pick Yourself Up/I Got It Bad(And That Ain’t Good)/Let There Be Love/Azure-Te/Lost April/A Beautiful Friendship/Fly Me To The Moon/Serenata/I’m Lost/There’s A Lull In My Life/Don’t Go

On this unique album Nat King Cole Sings/George Shearing Plays, the legendary Nat King Cole teams up with jazz pianist George Shearing and his quartet. (US:27 UK:8)

“This album represents one of those rare moments where all the stars were in alignment, although in this case not by chance. Take Nat King Cole's warm baritone, add George Shearing's jazzy yet subtle piano, and wrap them in the room filling sound of Ralph Carmichael's lush yet subtle string arrangements. Then take a dozen or so first-rate songs by the 20th century's greatest composers and record them in exquisite detail in one of the best studios in the world. Half a century later this album is as beautiful and relevant as ever. And it all looks so easy.”

“Easy listening doesn’t get much better or more enjoyable than this classic. Nat King Cole's effortless crooning over the George Shearing’s smooth backing complement each other perfectly. My favourite track is the great single Let There Be Love, but as both pairings were at the top of their game there are many highlights.”

“This is a great album. Nat's voice is an absolute perfect match for Shearing's trademark velvet carpet sound. The highlight is here is the classic, Serenata. Presented with Latin rhythms and smooth strings, great music doesn't get any better than this. This cut alone is practically worth the price of admission.”

“If you can only buy one Nat King Cole album, it should be this one. The arrangements are great. Shearing complements the singer superbly, and I've never heard Nat sound better. Every song is a gem.”

“For fans of Cole and/or Shearing, this is a must-have disc, a wonderful collaboration between two jazz titans. In fact, it's a shame singer Nat King Cole and pianist George Shearing didn't make more albums together.”

"All of the tracks are either slow and romantic or gently swinging. The arrangements are by Ralph Carmichael and Shearing. A lovely easy listening disc.”

Modern Sounds In Country & Western Music – RAY CHARLES*****

Bye Bye Love/You Don’t Know Me/Half As Much/I Love You So Much It Hurts/Just A Little Lovin’/Born To Lose/ Worried Mind/It Makes No Difference/You Win Again/Careless Love/I Can’t Stop Loving You/Hey Good Looking

Modern Sounds In Country & Western was an incredibly successful crossover album showcasing blues, jazz and soul singer Ray Charles’ interpretations of country standards. It topped the US album chart for fourteen weeks and includes the US and UK chart topping single I Can’t Stop Loving You plus the top ten hit You Don’t Know Me. (US:1 UK:6)

“Its a classic. There is no denying Modern Sounds In Country & Western is easily Ray Charles' most popular and all time best album. He recorded hundreds of songs but no single album in his career came close to this.”

“All the arrangements are beautiful and uniquely Ray Charles' own. His voice is so soulful and moving at times that its hard to believe he didn’t write everything here. No weak moments really.”

“Although considered a daring move at the time for a black artist to take on country and western standards, Ray had already shown an interest in country music and being from the south was used to hearing these songs on the radio. It was only a controversial move in terms of the social context rather than what Ray was doing musically.”

“This is probably his most famous album, and my favourite from what I've heard, a clever batch of country tunes done R & B style. And it's hard to argue with the results. The backing vocals are bathetic and distracting, but this is real soulful stuff anyway, and I'm not even a country fan.”

“Modern Sounds In Country & Western, was a revelation, both for fans of country music and for fans of Ray Charles. The former had never heard their favourites orchestrated with the depth of soul brought to the table by Ray Charles, and fans of the genius singer had never before heard him indulging his love of country music so deeply. Nashville had adapted to brass and strings in an attempt to create crossover hits, but their players never swung with the sort of big band finesse and bravado of these arrangements. These country and western songs shine bright when Ray Charles performs them with so much genuine emotion.”

Jazz Samba – STAN GETZ & CHARLIE BYRD*****

Desafinado/Samba Dees Days/O Pato/Samba Triste/Samba De Uma Nota So/E Luxo So/Bahia

This landmark collaboration between jazz musicians Stan Getz and Charlie Byrd was instrumental in introducing bossa nova to the USA. Jazz Samba includes the Grammy winning Desafinado, a top twenty hit on both sides of the Atlantic. (US:1 UK:15)

“This is the record that introduced bossa nova to the world and at the same time sets the first benchmark for the young genre. The sophisticated Stan Getz, together with jazz guitarist Charlie Byrd, combined American cool jazz with samba and Latin folk rhythm from Brazil, to create a whole new feeling and attitude."

“Getz and Byrd’s landmark collaboration may have been the starting point of a new sub-genre. It probably sounds like lounge jazz to many contemporary ears; on the other hand it’s possible it did more to promote the name of Brazil and its music worldwide, while simultaneously creating more standards than any other jazz album.

“This is a milestone, for presenting the bossa nova genre to America. Getz is a great sax player, and Byrd an amazing guitar player.”

“The album that popularized Brazilian jazz music in America. This is a classic and I can't find anything wrong with the album. One of those instant five star albums simply for its place in music history and for setting the standard for Latin-jazz to come.”

“A classic piece of jazz culture that is nearly impossible not to like if you are a fan of jazz. The feel and mood of the album is awesome and every cafe in the world should have it in their library.”

“How do you critique the album that started an era? Decades later, Jazz Samba is still one of the most relaxing, rhythmically pleasing albums ever made. All instrumental, with the tenor sax of Stan Getz and inspired guitar of Charlie Byrd. While Desafinado and Bahia are the best known tracks, the album is a seamless experience and it is difficult to single out certain songs as superior.”

“The jewel in the collection is Samba Triste, one of the most beautiful jazz/bossa nova tunes ever recorded. Here in particular, Stan Getz's solo is simply perfect.”

Jazz Impressions Of Black Orpheus – VINCE GUARALDI TRIO****

Samba De Orpheus/Mahna De Carnaval/O Nosso Amor/Generique/Cast Your Fate To The Wind/Moon River/ Alma-Ville/Since I Fell For You

Jazz pianist Vince Guaraldi and his trio's interpretation of Black Orpheus includes the original version of Cast Your Fate To The Wind. The 1965 hit version by Sounds Orchestral is more familiar to the UK audience. (US:24)

"With Guaraldi's fleet, always rhythmic piano driving these concise trio settings, Black Orpheus remains a seductive delight, probing the then exotic push and pull of samba with glee, but leaving ample room for more contemplative ballads that still remain deeply affecting."

"Guaraldi's own wistful and swinging Cast Your Fate To The Wind was a surprise hit single in 1962. The song would later receive a more expansive pop cover, but its Guaraldi's original that remains the superior performance."

"The name of Vince Guaraldi may not readily come to mind but this is a definitely a heavy swinging jazz combo and well worth getting into if you dig that sound. Incidentally, you'll probably recognize the haunting Manha De Carnaval as the tune better known now as Black Orpheus."

"With Jazz Impressions Of Black Orpheus, Vince Guaraldi created one of the most original, recognizable, and joyous sounds in piano jazz. This item is an absolutely wonderful interpretation of the Black Orpheus theme."

"The lively keyboard work, the sympathetic rhythm section, the Latin flourishes, the tender ballads, and the playful swinging all come together to create an instant classic."

"Guaraldi cranks out music like few others. What makes him special? Aside from his trademark 'crushed tone thirds', he delivers at multiple levels. I can be swept away by the joy, bouncing with the beat, or running to my piano room to practice."

It’s Trad Dad! – SOUNDTRACK***

Tavern In The Town/Lonely City/Another Tear Falls/In A Persian Market/Let’s Talk About Love/Down By The Riverside/Ring-A-Ding/Space Ship To Mars/Everybody Loves My Baby/Rainbows/Frankie & Johnny/The Lose Your Inhibitions Twist/Sometime Yesterday/When The Saints Go Marching In

The British teen film It’s Trad Dad! starred Craig Douglas and Helen Shapiro. Plot involves a group of hip teens fighting attempts by disapproving and censorious grown ups to remove a jukebox from a local coffee bar. Released just before the trad fad fizzled out the movie also features several rock & roll acts. Notable for the directing debut of Richard Lester who went on to bigger things with A Hard Day’s Night starring a well known group that almost overnight killed off the British trad jazz craze. (UK:3)

“Riding the tail end of a wave of cheap, nearly plot-less all-star rock 'n' roll movies, it's charmingly naïve and old-fashioned but also highly innovative. The 'Trad' in It's Trad Dad! refers to the post-war revival of traditional jazz also known as Dixieland. The movement was especially popular in early-'60s Britain.”

“This is a real surprise, a delightfully old-fashioned and innovative trad jazz/rock 'n' roll musical uniquely positioned at the end of one revolution and the start of another.” “This is a very interesting movie. I love the teen songs the most. It's amazing to think that trad (Dixieland) had a burst of popularity just before The Beatles hit it big. Had it not been for The Beatles the 60s could have been mostly about jazz.”

"It's Trad Dad is ultimately an interesting museum piece that captures the British entertainment industry in its last innocence before The Beatles arrived.”

“Showcase a marvellously eclectic mix of songs alternating between wildly swinging traditional jazz bands and powerfully primal rock 'n' roll stars. The divinely cool Gene Vincent, looking super-smooth with slicked-back shiny black hair and an immaculate gleaming white suit, pile-drives his way through the sublimely groovy Spaceship To Mars. Chubby Checker grinds his hyperactive hips to giddy glory and gets down with several audience members, roaring the transcendently asinine Loose Your Inhibition Twist with infectious full-throttle brio.”

“The 'pop' performers were bland with the songs totally forgettable and it's obvious why the British trad jazz craze was soon blown away by The Beatles et al.”

Great Themes From Hit Films – ENOCH LIGHT****

La Dolce Vita/Moon River/Light In The Piazza/Love Theme From El Cid/Tender Is The Night/Never On Sunday/ Tonight/Exodus/Theme From The Hustler/Theme From Four Horsemen Of The Apocalypse/Theme From King Of Kings/Satan Never Sleeps

Great Themes From Hit Films showcases some of the best known movie themes of the period which are given the Enoch Light stereophonic heavy percussion treatment. (US:27)

“I have been a fan of Enoch Light from the early 60s. His music style was totally different. Great tunes to listen and dance to. It was fun listening to instruments coming from the left, then the right.”

“These were stunners of the time and contained some marvellous music.”

“Sad to say that most movie music today is made up of old hits or not so hit recordings from the past. If we are lucky we may get a new composition as the main theme. The themes on this LP are from the days when a good movie theme would usually end up on the hit parade.”

“Classic tunes done with totally flipped-out arrangements that ping-pong back and forth across your speakers (look, it's stereo!).”

“Enoch Light has a well-deserved reputation as both an accomplished musician and a pioneering technical recording engineer.”

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

The Battle/Cripple Creek/Theme From Dixie/John Henry/Drivin’ Home/Prisoner’s Song/Up & Down/Bobbie/ Pepe/Lost Friend/Trambone/Gidget Goes Hawaiian

$1,000,000.00 Worth Of Twang Vol. 2 was the second collection of instrumental tracks from the king of the twangy guitar, Duane Eddy. His long run of instrumental hits would soon dry up. (UK:18)

“Duane Eddy gets pegged as a one-trick pony because of the 'twangy guitar' label but that's a misperception, as this album demonstrates. On Side A, he mostly drops the electric guitar in favour of acoustic (on which he displays a surprisingly delicate touch) and banjo, and focuses on traditional or traditional sounding songs; the result is a side with a distinct country-folk-bluegrass feel. Side B mostly features the trademark twang; the only exception is the Chet Atkins standard Trambone, which is a finger picking tune (and very well done here).”

"The Battle is a rocked-up version of Battle Hymn Of The Republic. Unfortunately, the song doesn't lend itself too well to this treatment, and it comes off as rather hokey and forced. A nice rendition of Cripple Creek comes next, followed by a nod to the other side in the recent unpleasantness in the form of Theme From Dixie, a swinging version that works very well. Then comes a very pretty John Henry, marred only by a clanging noise, meant to represent Henry's hammer that persists throughout the song and quickly becomes irritating. This is followed by Drivin' Home, which is the only contemporary sounding song on this side and is rather forgettable. The side ends with another nicely done traditional sounding tune, Prisoner's Song. The best of the mainly twangy songs on side two are Up & Down, Bobbie and particularly the jaunty Pepe. Gidget Goes Hawaiian sound corny, and Lost Friend is dirge-like.”

“Duane only needed a good melody and a few sidemen and his own talent and two minutes or so to make rock instrumentals that I've never grown tired of, despite hearing them hundreds of times.”

Clinton Ford – CLINTON FORD***

Everything Is Peaches Down In Georgia/And He’d Say Oo-La-La-Wee-Wee/Sleepy Time God/I Wouldn’t Leave My Wooden Hut For You/A Little White Gardenia/What More Can I Say/Fanlight Fanny/Where Did Robinson Crusoe Go With Friday On Saturday Night/Louise/What A Little Moonlight Can Do/Yaaka Hula Dickey Dula/ Please/Huggin’ & A Chalkin’/My Little Bimbo

Self titled debut album from the now largely forgotten British vocalist Clinton Ford who specialised in trad jazz and novelty numbers. He would never trouble the charts after this one. (UK:16)

“Have only recently discovered this class act. Quite a versatile voice, he's great in this fun number.”

“Fanlight Fanny is good trad jazz number by a very good entertainer. He certainly gives this George Formby song a great treatment.”

“I have been collecting sixties music for quite some time now, but have never fully appreciated the versatility and excellence of Clinton Ford. This brings home just how talented a performer he was, and it was great to have discovered some undervalued material from the period.”

“I pride myself on being able to appreciate most types of music. Although I probably would not have bought any Clinton Ford LPs in my youth, many years later I can appreciate what an excellent singer he was.”

“Some well known songs, a mixture of pop, trad jazz, comedy, country and traditional songs.”

“Clinton Ford at his very best singing a country pop ballad with a sweet, melodic, romantic voice to thrill and please.”

Bob Dylan – BOB DYLAN****

You’re No Good/Talkin’ New York/In My Time Of Dyin’/Man Of Constant Sorrow/Fixin’ To Die/Pretty Peggy-O/ Highway 51/Gospel Plow/Baby Let Me Follow You Down/House Of The Risin’ Sun/Freight Train Blues/Song To Woody/See That My Grave Is Kept Clean

Self titled debut album from the folk singer who would transform the popular music landscape. Consisting mainly of traditional folk and blues standards, sales of Bob Dylan peaked in the UK during his British tour of 1965. (UK:13)

“These covers are played with such great passion remarkable for a twenty year old youth. With the two original compositions Talkin’ New York, about his experiences in Greenwich Village, and the homage to his idol Woody Guthrie with Song To Woody, there is hardly any doubt about what would come in the next few years.”

“Dylan exudes the purest kind of enthusiasm on this album. He sounds generally excited to be in the studio cutting songs, no matter who wrote them. The tracks are generally quick in tempo and Dylan's voice is wild and unrestrained. As a result, the album moves briskly, yet manages to be constantly engaging.”

“This album has some extreme Woody Guthrie influences, and for the most part pulls it off. However, the lack of original and insightful material, while understandable given it is Dylan’s first, does not meet the expectations he always seems to surpass, and hasn't aged well.”

“A great blues/folk album but not a classic Dylan one, it's almost like he's playing a character on this one. There are still some hints of genius here and the Dylan original Song To Woody is the best song on the album.”

“Here, we see the beginnings of Dylan and his music, with wonderfully charged covers of folk songs and original compositions. This includes a beautiful tribute to Woody Guthrie in Song To Woody and the raucously loud Highway 51.”

“Even though Dylan only penned two tracks on his debut, he makes all the other cover songs his own by imbuing them with a passionate vocal delivery and stellar arrangements. Of his originals, the autobiographical Talkin' New York gives us a glimpse of the master storyteller Dylan would become, and Song To Woody pays heartfelt tribute to his musical hero.”

Stranger On The Shore – ACKER BILK****

Stranger On The Shore/Brahms Lullaby/Mean To Me/Greensleeves/Take My Lips/Sentimental Journey/Nobody Knows/Is This The Blues/Cielito Lindo/Deep Purple/I Can’t Get Started/Carolina Moon

Acker Bilk’s greatest success came with his massive hit composition Stranger On The Shore, spending over a year on the British singles chart, peaking at No. 1 in the US and No. 2 in the UK, and considerably boosting sales of the accompanying album in the process. (US:3 UK:6)

“This is the album that made Acker so very popular as a performer because the title song was the theme of a BBC television serial of the time. The strings and arrangements are very good. A great release.”

“This LP swept across the world in the 1960s and its commercial success obscured the fact that Bilk's performances came from an instinctive jazz musician of great talent. The idea of setting his clarinet into a string backing seemed grotesque at the time. But, like all natural players, Bilk was impervious to what was behind him, and his glorious timing and relaxed phrasing let him play delicate and uncompromising jazz solos into one of the first of the now commonplace 'with strings' albums. The timing is at the root of the gentle improvisations here, and although Bilk makes no radical changes to his melodies, his interpretations are individual and appealing.”

“Stranger On The Shore is actually a very sad song. Although Acker performs it as an instrumental, his clarinet proves to be the ideal instrument to highlight the sadness of the song. The clarinet has never sounded better than when played by Acker.”

"A song that speaks for itself is Stranger On The Shore, a timeless track. A collection of very fine music to relax and wind down with after a hard day - just let yourself drift away.”

“Features the perennial hit of the 1960s Stranger On The Shore and many other familiar favourites. This is a nice, relaxing album when you wish to lie on the sofa quietly - perhaps with a cup of tea - or something a little stronger to wile away the evening in peace and tranquillity.”

For Teen Twisters Only – CHUBBY CHECKER***

The Lose Your Inhibitions Twist/Peppermint Twist/Your Lips & Mine/Slow Twistin’/The Fly/Shout/Twist-A-Long/Love Is Like A Twist/Runaround Sue/Twistin’ The Blues/Dear Lady Twist/Twistin’ Bones

No shortage of Twist songs here as Chubby Checker milks the craze for all it is worth. For Teen Twisters Only includes two US top ten hit singles Slow Twistin’ and The Fly. (US:17)

“The dance theme permeates For Teen Twisters Only, with any track a candidate for inclusion in a youth oriented film from the period. The Fly is an interesting song with unique sound effects to separate it from the rest, followed by Slow Twistin', a duet with the great Dee Dee Sharp."

“The stronger material is on side one and by the time you hit the final track, the second of Checker's two compositions Twistin' Bones, the novelty has worn off. But this wasn't about creating great albums; it was about riding the wave of top 40 success and Chubby Checker milks it for all it's worth.”

“The album delivers the goods without straying from the mission to twist again...and again...and again.”

“Chubby Checker is amazing and a legend. The Twist is the best kind of dance ever. Slow Twistin’ is my favourite of all the Twist songs he released.”

Sincerely – BRENDA LEE***

You Always Hurt The One You Love/Lazy River/You’ve Got Me Crying Again/It’s The Talk Of The Town/Send Me Some Lovin’/How Deep Is The Ocean/I’ll Always Be In Love With You/I Miss You So/Fools Rush In/Only You/ Hold Me/I’ll Be Seeing You

The talented Brenda Lee was caught in a dilemma. Should she continue to appeal to the fickle teenage pop market or perform more stable adult oriented material in an attempt to broaden her appeal? For Sincerely the latter choice was made. (US:29)

“While there is a predictable amount of filler, the brilliant vocal performances more than make up for the mixed bag of novelty songs and misguided clunkers. Her ballads in particular knock me off my feet.”

“You can say that appreciating Brenda Lee is uncool, but really, she transcends what is fleetingly 'cool'. Her legendary reputation is untouchable. A voice that at such a young age just blows you away.”

“Lee's 1962 album Sincerely did not so much add to her versatility as tilt the LP away from the strengths that had made her so popular in the first place. She had made popular standards a part of her recorded repertoire almost from the time she started making records, and it wasn't unknown for pop singers to make albums dominated by adult-oriented material in an attempt to broaden their appeal. But while Lee could sing this kind of stuff well, the problem was that the record featured almost nothing but these kind of songs, most of them taken at a slow tempo, and none of them rock & rollers (or hit singles, for that matter). As a result, it's one of the more forgettable albums from her prime, of value only to big fans and completists.”

“Typically lush yet tasteful orchestral production and characteristically committed Lee vocal performances. None of the tracks are outstanding, however, though none are embarrassing and a few are decent.”

“The entire album is a wonderful listening pleasure. Possibly intended for the cocktail audience. There aren't any of Brenda's hits, but her delivery of these classics are outstanding.”

Sinatra & Strings – FRANK SINATRA*****

I Hadn’t Anyone Till You/Night & Day/Misty/Stardust/Come Rain Or Come Shine/It Might As Well Be Spring/ Prisoner Of Love/That’s All/All Or Nothing At All/Yesterdays

Frank Sinatra was on peak form recording Sinatra & Strings, his first album with acclaimed arranger Don Costa, and regarded by many fans as one of his best. (US:8 UK:6)

“An excellent romantic ballads collection. The repertoire is stupendous and for the first time the orchestral arrangements were by Don Costa.”

“Sinatra's first album with Don Costa is a spectacular collaboration that resulted in a timeless musical masterpiece. Frank is at the absolute top of his game, and it shines through one gem after another. These are songs that Duke Ellington characterized as beyond category.”

“You can't list enough superlatives about this album. It's an early example of his work with Reprise, and it is one of the best Sinatra albums of all time. It is classic. It is essential. It is a must-have purchase, and it is pure Sinatra.”

“Others had greater range or greater voices. None had the inimitable gift that Frank Sinatra possessed and that was allowing you to understand a lyric and feel it deep down in your soul. There is only one Sinatra and this album epitomizes his vocal range and showcases his beautiful genius.”

“This was one of Sinatra's best Reprise releases as he was still at his apex when it was recorded. The arrangements by Don Costa complement his voice. These are love songs, mostly sung directly to his lover. It makes the perfect LP to play during a romantic evening.”

“Sinatra & Strings is one of the greatest combinations of popular singing, arranging, and orchestration ever recorded. In my opinion, it is 'as good as it gets' in American pop music history. The Sinatra stamp of quality and excellence is evident on every track. This is absolutely fabulous. Sinatra is fantastic. He gets right into a song and he sings right to you. This is definitely a must have. The strings and his voice just go together so well.”

Nina At The Village Gate – NINA SIMONE****

Just In Time/He Was Good To Me/House Of The Rising Sun/Bye Bye Blackbird/Brown Baby/Zungo/If He Changed My Name/Children Go Where I Send You

At The Village Gate captures the legendary jazz singer and pianist Nina Simone live with her trio in 1961, still early in her career, at New York City's intimate Village Gate club.

“In the intimate ambiance of The Village Gate, Nina Simone made pure magic with her voice and on the keyboard, one Manhattan evening back in 1961, singing and playing with her trio. This is by far my favourite collection of Ms. Simone's music.”

“Nina is putting herself so much into these songs that I become very absorbed by the proceedings. This has a great small club feel, where you can hear the clinking of plates and glasses, and the sporadic murmur of voices. There are some beautiful renditions of a couple standards, a House Of The Rising Sun unlike what I am used to, and Brown Baby which subtly brings to mind the history of that time, and the superb African folk song, Zungo, a nice departure from the jazz and bluesy soul.”

“Don't be put off by the low song count, what's missing in quantity is made up for in quality. The intimacy of Nina's appearance here is captured as she sheds new light on well-worn Broadway standards and unknown songs alike. Her voice was also a bit lighter than it became later on so she hits some high notes easily. As usual her piano playing is great, and she's backed by great sidemen, but they never get in the way of her singing.”

“One thing that's great about this album is that it really showcases her skills as a classically trained concert pianist, though most people know her only as a vocalist and stylist, As much as I love some of her other albums, this would be the one I'd take with me to a remote island. No fan should be without this album.”

“Simone is a musical anomaly, and her music can be very hard to categorize. She is a classically trained pianist. At times her complex piano parts call to mind Bach as in Bye Bye Blackbird. She is a folk singer; witness her biting version of The House Of The Rising Sun. She is a gospel singer, as heard in the roof-raising version of Children Go Where I Send You. She is a jazz singer, with a finger-poppin' and shuffling version of Just In Time. She's also a protest singer and a powerful actress capable of manipulating our fiercest emotions through song.”

Midnight In Moscow – KENNY BALL***

Midnight In Moscow/Tin Roof Blues/My Mother’s Eyes/Big Noise From Winnetka/Yes She Do No She Don’t/ Puttin’ On The Ritz/American Patrol/Dark Eyes/You Must Have Been A Beautiful Baby/Savoy Blues/High Society

Kenny Ball was a regular visitor to the British singles chart during the period 1961-63 with his upbeat infectious trad jazz releases. However, Midnight In Moscow was an international hit single reaching No. 2 in both the US and UK, propelling the accompanying album to a decent chart placing in the States. (US:13)

“Kenny Ball and His Jazzmen were a British group and they are very good. They played Dixieland music (called trad in Britain), and had a lot of experience with this music despite their foreign roots. Their biggest hit was Midnight In Moscow, but most of their other pieces are quite good too. Personally, I prefer this British group to most of the American ones - including those based in New Orleans - because they play shorter solos and do more ensemble playing than is typical in the US.”

“I like every song I've ever heard by Kenny Ball, and this album is no exception. His band plays authentic sounding Dixieland jazz, with banjo instead of guitar, and the songs tend to be lively, technically proficient, and have tasteful solos. Midnight In Moscow, with its haunting minor key sound, was a big hit single in 1962.”

“When you hear the group start into Midnight In Moscow, you know something quite unique is afoot. It's the infectious energy that the Brits pour into their work and Ball's trademark bell-like trumpet sound, is uncannily always spot-on. Hearing this odd treatment of the sadly beautiful Russian folk melody... well, it works! It was and is magic.”

“You don't find the long obligatory solos that so often mar Dixieland performances. There are short solos here and they are brilliant. Ball and the band are unique in the way they just get together and cook. It's hard not to get involved. I especially like their cover of tunes that are not the traditional Dixie fare.”

“This is an instant mood elevator. Smashing, original and utterly delightful, which captures the joyful quality of New Orleans jazz, even though it's not from New Orleans. Put this music on and dance. It's rich, endlessly varied, fresh and even a little sweet - and packed with glorious energy. Can't recommend it enough. When you're listening to this, you're on Bourbon Street no matter where you are.”

Dino - Italian Love Songs – DEAN MARTIN*****

Just Say I Love Her/Arrivederci Roma/My Heart Reminds Me/You’re Breaking My Heart/Non Dimenticar/Return To Me/Vieni Su/On An Evening In Roma/Pardon/Take Me In Your Arms/I Have But One Heart/O Sole Mio

Dino - Italian Love Songs was an album of songs tailored made for Dean Martin’s smooth romantic voice. His coming move to Reprise would see his LPs enjoy much greater chart success. (US:73)

“I play this LP all the time and I can't get enough of Dino and his wonderful voice. Each song is done so beautifully and the arrangements are excellent. I would recommend this for anyone who likes Dean's slow smooth sounds and a Latin beat, which gives off a romantic aura for you to sit back and just listen.”

“Dean Martin is superb on this LP. His silky smooth voice sings all these beautiful melodies with such feeling. All these songs are so relaxing.” “What a gorgeous collection of songs. Being Italian myself, I grew up hearing a lot of these from other artists. Listening to Dean singing these songs is like hearing them for the first time. What a voice, what a legend.”

“This is not only the best Dean Martin LP, it is also one of the most romantic collections of songs for lovers. It sets a lovely romantic mood for the evening ahead.”

“The material has a spellbinding charm that captivates your ears and touches your heart and soul. These are superb, spotless and effortless renditions of Italian love songs full of the genuine emotion which each song evokes.”

“These are the very songs that made Dean Martin 'La Passione di Roma' who was adored by millions of music lovers throughout the world. The magical spell of these hauntingly beautiful Italian love songs is captured in this lovely album.”

“If you are a Dino fan like I am, then you have to place Italian Love Songs among his best. The mood of the album is exquisite and infectious. In this particular case, the right mix of instrumentation and Dino's voice create an absolutely incredible experience for the listener.”

“This was one of the Capitol 'concept' albums. The lush music and Dean's voice were a perfect match for the Italian melodies.”

Swings Brightly With Nelson – ELLA FITZGERALD*****

When Your Lover Has Gone/Don’t Be That Way/Love Me Or Leave Me/I Hear Music/What Am I Here For/I’m Gonna Go Fishing/I Won’t Dance/I Only Have Eyes For You/The Gentleman Is A Dope/Mean To Me/Alone Together/Pick Yourself Up

On the Grammy winning Swings Brightly With Nelson Ella Fitzgerald again teams up with the great Nelson Riddle to perform a mixture of standards that most people know, together with others that are not so frequently recorded.

“A masterful performance of the vocal art, superbly arranged by genius arranger Nelson Riddle and brilliantly played by his orchestra. All the songs here are well-chosen standards and are familiar enough to be fun to listen to without being common enough to be overused.”

“Ella is consistently fantastic (as always) and her sense of swing is impeccable. Riddle has constructed some top notch arrangements and is well served by his orchestra. Ella's solo vocal performance earned the album a Grammy. It is a gem of tasteful craftsmanship and quality. A classic album, a must-buy for all fans of Ella, Riddle and of good music in general.” ,p> “From beginning to end, this LP is a swinging masterpiece. The band is terrific; you'll be snapping your fingers, before you know it. Ella's got just the right attitude. And her voice sounds mostly wonderful too.”

“This is my first Ella LP and I'm just blown away by it. This is such a fun, classy, swinging set that I've played it endlessly. Ella is just fabulous. Her range, tone and pitch are phenomenal, but the real treat is the joy with which she sings. She makes the heartbreaker, When Your Lover Has Gone, sound like a party. What a punchy, snappy set.”

“Ella seemed to bring out the best in Nelson and even though the arrangements tend to be formulaic for Riddle, they seem suited to Ella's laid back singing. This one will send you smiling.”

“Ella takes the listeners to her brightest musical moments as she renders some of the most wonderful standards ever written. For fans of Ella, the First Lady of Song, and Nelson Riddle, one of the greatest arrangers America ever produced, this is definitely a welcome addition to your elegantly decorated vocal jazz collection.”

Drums Are My Beat! – SANDY NELSON***

Drum Role/My Blue Heaven/Hawaiian War Chant/Caravan/Drums Are My Beat/Day Drumming/Drum Stomp/Hum Drum/Topsy/The City

Drums Are My Beat! was a quick follow up album of instrumentals from drummer Sandy Nelson divided between originals and covers. Drum led albums are very thin on the ground. (US:29)

“That jazzy looking cover doesn't do a service to a pretty energetic and surfy album. Very strong.”

“Drums Are My Beat! is the most eclectic Sandy Nelson LP to appear during the drummer's commercial heyday. Like the preceding Let There Be Drums, it evenly divides between originals and covers, but the songs in the latter category derive from an unusually diverse group of sources, guaranteeing Nelson the opportunity to explore new facets of his craft.”

“Duke Ellington's rhythmic fantasia Caravan proves a perfect fit with Nelson's primal style, as does the traditional Hawaiian War Chant, presented here in a big band-influenced arrangement. Best of all is a version of Cozy Cole's Topsy, featuring Nelson on xylophone. His original compositions are equally appealing. Drum Stomp is a shimmering surf-rock excursion and the closing The City features a raucous saxophone performance. Most impressive of all is the epic Day Drumming, an eight minute Nelson solo showcase that captures the drummer in all his protean glory.”

“This is hard early sixties style instrumental rock. For drummers in particular, it's an object lesson in how to swing a backbeat. It's not just the frequent drum soloing (which has a primitive, atavistic quality) but the way Nelson backs other instrumentalists, driving them, and challenging the listener to keep from tapping his feet in time. This stuff really grips you, and the syncopations make a lot of modern 'rock' drummers sound like thumping metronomes.”

“Lots of groovy beats and solid playing, and if you are not a musician, you love it just as much.”

Crying – ROY ORBISON****

Crying/The Great Pretender/Love Hurts/She Wears My Ring/Wedding Day/Summer Song/Dance/Lana/Loneliness/Let's Make A Memory/Night Life/Running Scared

Crying was the second monument LP from Roy Orbison, and combines big hits, standards and some lesser known tracks. Includes two top ten singles, the paranoid Running Scared plus the overwrought title track. (US:21 UK:17)

“Embedded between the two hit singles Crying and Running Scared are smooth love ballads like the well-known Love Hurts and danceable pop tunes (Dance and Loneliness). And as almost always with Orbison, the melancholic atmosphere is floating over the whole song building.”

“The timbre of Roy Orbison's operatic like singing voice and impressive range, instantly commands your undivided attention and reeled you into an ethereal world of sound and vision unequalled by any other singer before or after him. The orchestra and band playing behind him complement his colourfully impacting and imposing instrument. Roy's voice painted the songs he chose to sing to memorable excellence. Nobody else could sing or sound like Roy, he was one of a kind.”

"Roy Orbison outshines most artists. His vocal range is outstanding and fresh today as in the 60s. This LP is a real treat because you have some of Roy's most impressive hits along with other songs that are not heard as often.”

"Orbison's second album for Monument followed the template of his debut, with several key singles leading an album full of decidedly lesser works. Which isn't to suggest that the album tracks are uninteresting; they simply don't match the magnificence of the hits.”

"Every thing about this album is brilliant - the singing, the backings, you could not ask for more."

"Displays the trademark early Orbison production flourishes, with swooping strings and full vocal choruses."

"With the exception of Love Hurts, the title track, and the epic hit Running Scared, most of the cuts lean toward the Big O's more sentimental side."

Bouquet Of Love – PERCY FAITH****

Blue Moon/Out Of This World/Duet/Easy To Love/I Only Have Eyes For You/Soft Lights & Sweet Music/How High The Moon/Invitation/If I Loved You/Music Until Midnight/Stella By Starlight/I Concentrate On You

Bouquet Of Love was a collection of romantic standards featuring the lush orchestral arrangements and strings of Percy Faith. Whatever happened to popular orchestral music? (US:26)

“Bouquet Of Love is filled with numerous standards and the usual Faith composition. I Only Have Eyes For You as presented here is arguably the greatest instrumental version of this song ever recorded. Filled with heartfelt longing and beauty, it's hard to imagine any other conductor presenting it the way Faith does. Blue Moon is another great arrangement with the violins and violas carrying the main melody and the cellos and bass providing counter melody. Simple yet effective.”

“Lushly orchestrated, with Faith's trademark keening strings, this album epitomizes orchestral easy listening music. The song selection is heavy on the standards, including Rodgers and Hart's Blue Moon and Stella By Starlight."

“This is the supreme Percy Faith collection. It has his trademark written all over it. His inimitable way with strings and his teasingly delicate piano sub-chords.”

“Remember the days when you could turn on the radio and hear beautiful music. Percy Faith was a staple of this sound and his lush string orchestral LPs are a treat for the ears. Here are many familiar romantic standards given the Percy Faith treatment.”

“I'm glad that this music sounds as good today as it did in the past. I just wish that the current orchestras could play their music like this, it would be so heavenly.”

“You will not hear this kind of music very much anymore. It is sad. Many are missing out on some great music.”

“As background music (not elevator muzak) it just feels lush and inviting. If you like a symphonic style that pays tribute to some great old songs this is it.”