The Agony & The Ecstasy – SOUNDTRACK****

The Mountains Of Carrara/The Pope/The Medini/Michelangelo’s Sketch Of The Apostles/The Tavern/Genesis/The Sistine Chapel/Contessina/The Agony/Michelangelo’s Recovery/The War/Festivity In St Peter’s Square/ Michelangelo’s Magnificent Achievement & Finale

The epic movie The Agony & The Ecstasy, examines the clashes between Michelangelo and Pope Julius II over the painting of the Sistine Chapel. It starred Charlton Heston and Rex Harrison. The soundtrack music was composed and arranged by Alex North.

“All of Alex North’s works were great and the effort he put into them was enormous, and The Agony & The Ecstasy is one of his greatest scores. What sets it apart is the style, based on the music of the movie's setting. The instruments used were very medieval and religious sounding, obviously requiring Alex to do much research. Both the main title for the film and the pope's theme sound majestic and as beautiful as the painting on the Sistine Chapel. The music describing the chapel is epic and religious in quality. The battle scenes actually sound like what they would in their time, a unique treat to listen to.”

“A superb work by Alex North. It pays to have some taste for music that includes period instruments, but I find the inclusion, which by no means dominates the compositions, to be an enhancement.”

“This is not actually music of the period. North's fusion of the old with the new is so adept that one might not initially realize it is new. For The Agony & The Ecstasy, he captured the spirit of Pope Julius's II's Vatican in a language that recalls the time but speaks directly to us. This is my favourite of North's works.”

“The early to mid 60s certainly seems to have been something of a 'purple patch' for composer Alex North; on the heels of his mammoth, wonderfully evocative score for Cleopatra came his majestic score for The Agony & The Ecstasy, which contains some of the most moving and elegant music he ever wrote.”

“North worked within the historical framework of the film's story, the battle of wills between Michelangelo and Pope Julius II, composing music that subsumed the musical influences of 15th century Italy within his own style. The result was a brilliantly expressive score that evoked the enveloping passions of the men and the art that they fostered, in a concise and musically dramatic manner.”

A Man & His Music – FRANK SINATRA****

Put Your Dreams Away/All Or Nothing At All/I’ll Never Smile Again/There Are Such Things/I’ll Be Seeing You/The One I Love/Polka Dots & Moonbeams/Night & Day/Oh What It Seemed To Be/Soliloquy/Nancy (With The Laughing Face)/The House I Live In/From Here To Eternity/Come Fly With Me/(How Little It Matters)How Little We Know/Learnin’ The Blues/In The Wee Small Hours Of The Morning/Young At Heart/Witchcraft/All The Way/ Love & Marriage/I’ve Got You Under My Skin/Ring-A-Ding-Ding/The Second Time Around/The Summit/The Oldest Established/Luck Be A Lady/Call Me Irresponsible/Fly Me To The Moon/Softly As I Leave You/My Kind Of Town/The September Of My Years

Something of a vanity project, A Man & His Music provides a brief retrospective of Frank Sinatra's musical career, interspersed with a running commentary from the great man himself. It won a Grammy for album of the year. (US:9 UK:9)

"Instead of using the original recordings, which were not eligible for use by his then current label Reprise, Sinatra re-recorded the majority of the album's songs. There is also a narration from Sinatra that runs throughout the album."

"As an attempt to sum up the singer's career to date, A Man & His Music unfortunately falls short. Part of the problem is that Sinatra, as on the previous Sinatra's Sinatra, re-recorded the material dating from his RCA, Columbia and Capitol periods; while the new versions of these songs are fun, they offer no insight into Sinatra's growth as an artist. More annoying is the running commentary provided by Sinatra, which actually overlaps many of the selections; though fascinating from a historical standpoint, Sinatra's narration renders the prospect of repeat listening less than enticing. For true fans and musical archivists only."

"A Man & His Music was originally released as a two LP set to commemorate Frank Sinatra's 50th birthday. It is a collection that is unique for several reasons. For starters, it featured (then) new recordings of Sinatra classics dating as far back as the Tommy Dorsey days, but more importantly, the album was narrated by Frank himself, navigating us through the first 30 years."

"A Man & His Music may well be the finest Sinatra compilation on the market. Frank clearly enjoys telling the tale of his long and happy career, paying tribute to the many great arrangers, composers and musicians who got him where he is."

"The song selection offers a solid cross section of each period of Frank's career."

Gold & 2nd Vault Of Golden Hits – THE FOUR SEASONS*****

(Gold Vault)Let’s Hang On/Rag Doll/Ronnie/Big Man In Town/Silence Is Golden/Bye Bye Baby/Dawn(Go Away)/Save It For Me/Girl Come Running/Betrayed/Toy Soldier/Cry Myself To Sleep.(2nd Vault) Sherry/Walk Like A Man/Candy Girl/Stay/Alone/Marlena/I’ve Got You Under My Skin/Big Girls Don’t Cry/Working My Way Back To You/Opus 17/Peanuts/Connie-O

These two hits album releases from The Four Seasons contained all their major hits between 1962 and 1965. Gold Vault Of Hits reached No. 10, and 2nd Vault Of Golden Hits was No. 22, on the US album chart. "A well-programmed, best of by one of the great critically underappreciated bands of the '60s. The song selection splits the difference between The Season's pure pop side and their more socially relevant material. If you prefer the pure pop stuff, however, there's no need to apologize; in fact, thanks to Seasons songwriter Bob Gaudio's infectious tunes, lead singer Frankie Valli's seemingly helium-induced falsetto, and Bob Crewe's psychedelically vivid productions, one can make a reasonable case that some of the stuff here is the purest pop music ever made."

"This is the one - any best of The Four Seasons should have all of these tracks on it. Apart from the gorgeous singing and the great songs listen to the drum and rhythm guitar sound. This is majestic pop music, up with the best of Phil Spector or early Tamla Motown."

"I loved the beat and harmonics of this group, became an instant fan, and still feel that this album is the best of the lot; one where all the songs are worth listening to again and again."

"It's wonderful. I love every one of these songs. I especially like Betrayed and Cry Myself To Sleep. I wonder why they didn't make it very big? And then, of course, I like Let's Hang On! and Rag Doll and all the other big hit songs. Buy it."

"I was probably about nine years old when Rag Doll hit the AM radio stations but I remember it like it was yesterday. These guys had great harmony. My brother owned this album and it was lost long ago so I just had to buy it again. Good overview of some of their greatest hits."

Volume 2 – THE BEAU BRUMMELS****

You Tell Me Why/I Want You/Doesn’t Matter/That’s Alright/Sometime At Night/Can It Be/Sad Little Girl/Woman Don’t Talk To Strangers/I’ve Never Known/When It Comes To My Love/In Good Time

As the title suggests, the second album from the San Franciscan folk-rock group The Beau Brummels. Unlike The Byrds, to whom they are compared, they wrote all their own songs at this time.

“In this album the overall sound is more similar to The Byrds, but the compositions are even better than those on the previous album. This is one of the great folk-rock albums of the mid-sixties.”

“This is the best album released by The Beau Brummels. There is not a single weak cut on this album. Comparisons are often made to The Byrds, but guitarist Ron Elliott wrote all (except one) of the songs on Volume 2. Were The Byrds writing all of their own material in 1965? I don't think so. The Beau Brummels were one of the most overlooked bands of the 1960s. If you like folk-rock, its unlikely to get much better than it is here.”

“The Beau Brummels' second album, cunningly titled Volume Two, is far superior to the somewhat derivative Introducing. Guitarist Ron Elliot's surprisingly downbeat folk-rock songs are both smarter and more tuneful than those of most of his garage-rocking contemporaries, and the best tracks here, such as Don't Talk To Strangers and the brave front Doesn't Matter, show that he's one of the most underrated songwriters of his era. Sal Valentino's vocals, as always, are terrific.”

“This is more of a Byrds meets Rubber Soul approach with raw, unglossed natural harmonies, and the superior songwriting of Ron Elliott. It still amazes me how these guys were largely ignored after two very solidly good hits, when they had so much material that was even better in their arsenal.”

“All in all, this is a very good release that genuinely established The Beau Brummels as a greatly underappreciated folk-country-blues group. Don't let this great band pass you by."

“Unlike their first album, this one doesn't contain any big hit songs that most people will remember. So, it's got that going against it. However, the songs that are here are pretty good for the most part.”

Thunderball – SOUNDTRACK****

Thunderball/Chateau Flight/The Spa/Switching The Body/The Bomb/Café Martinique/Thunderball/Death Of Fiona/Bond Below Disco Volonte/Search For Vulcan/007/Mr Kiss Kiss Bang Bang

The soundtrack album from the fourth James Bond movie Thunderball. Based on the Ian Fleming spy novel the film starred Sean Connery. Music again scored by James Barry with Tom Jones singing the title track. (US:10)

"Thunderball, stands as Barry's most evocative and memorable Bond score. Tom Jones's rendition of the title track has all the muscular bombast of Bassey's previous effort, but Barry's scoring quickly shifts the mood to one of dark mystery. The brassiness of the Goldfinger score is supplanted here by jazz-inflected winds and Barry's distinctive, haunting string arrangements; a nigh-perfect cocktail of action, adventure and suspense elements."

"Definitely, one of my favourite John Barry scores for the 007 series. Thunderball perfectly captures the essence of Bond and his world. In fact, you could say that the 007 music fully evolved with this. Unlike the sparse sounding music of the first three films, Thunderball has a fully orchestrated sound filled with exciting musical motifs."

"This is one of the best James Bond soundtracks by John Barry. The Tom Jones' vocal has real power. A spectacular and haunting score. It really has that 'Bond Sound'. Highly recommended."

"Sassy, brassy, exciting and fun. Sometimes dark and deadly. Not only is this a description of Bond, but of the soundtrack to Thunderball, one of Barry's better efforts. This movie had Bond escaping death so many times, and it's reflected in pieces like Chateau Flight and Death Of Fiona. Mr. Kiss Kiss Bang Bang and 007 are classic Bond pieces. And then there is Tom Jones doing a memorable job with the main theme."

"I would say that this soundtrack is a little too dark and mysterious to be the best Bond soundtrack, but I rate it very high on my list."

"Tom Jones creates a true masterpiece with his title song that is played in many versions throughout the movie. With a powerful voice, inspired lyrics and slam-bang ending to the song, Thunderball is a James Bond theme of the highest order."

There’s A Bond Between Us – THE GRAHAM BOND ORGANIZATION***

Who’s Afraid Of Virginia Woolf/Hear Me Calling Your Name/The Night Time Is The Right Time/Walkin’ In The Park/Last Night/Baby Can It Be True/What’d I Say/Dick’s Instrumental/Don’t Let Go/Keep A Drivin’/Have You Ever Loved A Woman/Camels & Elephant

There’s A Bond Between Us was the second and final album from the influential British R & B group The Graham Bond Organization which included two thirds of the membership of the supergroup Cream.

“The Organization lacked a glamorous image, spent most of their time working in the clubs for little money, and were unable to break into the charts. Effectively reformed as Cream in late '66 - with Eric Clapton replacing Graham Bond.”

“Graham Bond's raw vocals are an acquired taste but I feel sure by the end of this LP it will definitely grow on you. More important is what a great group of musicians they were. I always thought Ginger Baker was one of the greatest ever drummers and these early recordings go a long way to support my claim. Also quite apparent is some superb bass playing by Jack Bruce. However, it is unfair to single out individuals when the whole band were a group of exceptionally talented musicians.”

“The band had a formidable live reputation on the 60s British R 'n' B scene, later spawning Cream. I must say I was rather disappointed with this studio offering. In a live context, Bond's raucous yet unmelodic vocals sound earthy; here they sound awkward, especially on the ballad material. Equally, the band as a whole seem rather stilted, as if uncomfortable in the studio environment.”

“Aggressive, punchy blues with Bond working wonders on his Hammond, driven by the ferocious rhythm section. Full of energy and vigour, and brimming over with talent, this was a great band with a unique sound.”

“Graham Bond is one of the unsung heroes of the early '60s UK R & B scene, incubating talent which would later mature and eclipse his own groundbreaking efforts. This album offers an intriguing snapshot of this fertile period in Britain when jazz and blues coexisted quite happily.”

“Offered a slightly wider musical range played with a bit less verve, and Bond's pioneering use of the Mellotron presaged his move towards progressive music.”

Temptin’ Temptations – THE TEMPTATIONS****

Since I Lost My Baby/The Girl’s Alright With Me/Just Another Lonely Night/My Baby/You’ve Got To Earn It/Everybody Needs Love/Girl(Why You Wanna Make Me Blue)/Don’t Look Back/I Gotta Know Now/Born To Love You/I’ll Be In Trouble/You’re The One I Need

This legendary Motown soul group made the first of many US top twenty album chart appearances with Temptin' Temptations. Includes the US top twenty singles Since I Lost My Baby and My Baby. (US:11)

"Temptin' Temptations, is a showcase for Smokey Robinson. He wrote and produced some bright, melodically spot-on tunes - the elegantly sad Since I Lost My Baby, the charming My Baby and the infectious You've Got To Earn It. The performances by the group, still in their original line-up, are dominated by the fantastic tenor voices of Eddie Kendricks and David Ruffin and typically excellent harmonies from the others."

"The title of the album does not mislead, they will clearly tempt you and then tempt you some more. These are the songs we know and love from our favourite Tempts, who do some of their best work here. Every song is great with no filler anywhere."

"This LP is a must if you are a Temptations fan. There were some big hits here, but I was very impressed with the songs that didn't make it big. So if you haven't gotten this one yet, go out and purchase it because it is a must have."

"The Temptations third album was much in the same vein as their second, with Smokey Robinson having a hand in most of the songwriting and serving as executive producer: However, Temptin’ Temptations features several other writers and producers beside Robinson, including Norman Whitfield."

"The album is notable in that there aren’t any well-known hit singles like My Girl or Get Ready here, although Since I Lost My Baby and Don’t Look Back are minor classics which, although good (and among the best here), do not stand out from the rest too much. This works in the album’s favour, as it means there are no singles that outshine the rest of the album, and it feels more consistent overall."

"Listening to Temptin' Temptations is a cheap ticket back to first loves, weekend parties and the euphoria of youth. A must for Temptations fans. No group has come along to out harmonize the original Temptations. For the best stroll down memory lane, buy this album and almost cry when you hear perfection."

Take A Heart – THE SORROWS***

I Don’t Wanna Be Free/Come With Me/Baby/Teenage Letter/Take A Heart/We Should Get Along Fine/You’ve Got What I Want/No No No No/Let The Live Live/Don’t Sing No Sad Songs For Me/Let Me In/How Love Used To Be/Pink Purple Yellow Red/My Gal

First album from the Coventry based group The Sorrows who enjoyed some limited fleeting success in the mid 1960s with their brand of R & B cum garage rock. Their single Take A Heart just missed the UK top twenty.

“Although just a cobbled together collection of single sides from 1965, this is no less an excellent album of high quality R & B tunes anyway you present it. Almost every song is full of energy and great crunchy guitar work.”

“Check out this fab gear group from the swinging sixties. You may be familiar with Take A Heart and true it is a classic but the other tracks will not disappoint. Get a load of the full on R & B of Teenage Letter, the atmospheric Baby and the mind blowing Pink Purple Yellow Red, to name but a few.”

“There's no doubting that The Sorrows were a dynamite act and deserve this level of coverage. Most of this music is fiery R & B, though their hit Take A Heart reveals that they could adopt a more brooding style as well. Not all of the songs are of a high quality. Baby for instance features uninspired lyrics punctuated with irritating pauses. This is the exception rather than the rule however.”

“The Sorrows were pure beat era, mixing the danceable 'modness' of The Kinks with the R & B muscle of The Pretty Things. Tunes like Come With Me are the epitome of Swinging England harmony pop. The band's catalogue is filled with great R & B-tinged stompers and ballads, with start/stop rhythms, riffing guitars, pounding drums, strong harmonies and gritty vocals.”

“The Sorrows were the raunchiest, hard-edged, most aggressive band in England in 1965. Their brand of thumping R & B/blues/garage-rock at the time was groundbreaking and way ahead of it's time. All songs rock with extreme intensity.”

“This album has some raucous mod stompers with the most obvious being their hit Take A Heart. While the rest of this album is not as strong as the title track it is definitely worth a listen.”

Hang On Sloopy – THE MCCOYS***

Meet The McCoys/Hang On Sloopy/Fever/Sorrow/If You Tell A Lie/I Don’t Mind/Stubborn Kind Of Fellow/I Can’t Help Fallin’ In Love/All I Really Want To Do/Papa’s Got A Brand New Bag/I Can’t Explain It/High Heel Sneakers/Call It Stormy Monday

The short lived American garage band The McCoys enjoyed an international hit single with Hang On Sloopy which reached No. 1 in the US and No. 5 in the UK. The accompanying album was less successful despite the inclusion of the US No. 5 hit single Fever. Lead singer Rick Derringer enjoyed some limited success in the mid 1970s. (US:44)

“If you grew up in the 60s you couldn't escape Hang On Sloopy on the radio, and you probably didn't want to, as it is still one of the catchiest and most fun pop singles of all time. The McCoys are most famous for that hit and for spawning the long career of Rick Derringer. Their only other real hit of note was their version of Fever, which is included here. While their music was never intended to be earth shaking it was fun garage rock.”

“For a teen-aged garage band, these guys are pretty talented. The music on their first release is a mix of pop, hit covers, R & B, and some funky sounding material and sounds really good overall.”

“This is a good example of The McCoys from their Bang Records days. Unfortunately, some of these songs aren't that good. Hang On Sloopy is a great song, and some of their others are reasonable, but many sound like an average high school garage band.”

“One of the main reasons The McCoys sounded so good was Rick Derringer, even at that young age he was one of the best sounding lead singers, and one of the most technically advanced, expressive lead guitarists around.”

“Though the overall sound is tame compared with the wilder garage bands they have a drive not unlike those bands, which keeps their never-tentative sound out of more shallow waters frequented by the more commercial pop groups of the time.”

“The McCoys played great rock 'n' roll with a touch of soul. Though criticized for being a bubblegum band, The McCoys were not afraid of covering anybody's songs, which are fun to listen to and are well performed.”

Second Album – THE FOUR TOPS****

I Can’t Help Myself/Love Feels Like Fire/Is There Anything That I Can Do/Something About You/Its The Same Old Song/Helpless/Just As Long As You Need Me/Darling I Hum Our Song/I Like Everything About You/Since You’ve Been Gone/Stay In My Lonely Arms/I’m Grateful

Second Album by the melodic Motown vocal group The Four Tops provides another showcase for the songwriting team of Holland-Dozier-Holland. It includes three US hit singles, the No. 5 Its The Same Old Song, the No. 19 Something About You and the chart topping I Can't Help Myself which also reached No. 10 in the UK. (US:20)

"The Four Tops second album is quite possibly the most hit bound of all their early Motown work. The perennial favourites I Can’t Help Myself and It’s The Same Old Song as well as a totally winning batch of other tunes, all produced to perfection by the Holland/Dozier team. The sound is classic Motown all the way through, with still some nice rough edges on the group’s vocals and killer lead work from Levi Stubbs."

"I bought The Four Tops Second Album in 1966 when I was in the eight grade. After listening to this album I became a Four Tops fan forever. They sing with so much soulfulness on this LP. You won't regret buying it."

"The Four Tops second album is formulaic; vibraphone laced Motown pop, with a strident beat and vocals as sweeping as the strings. Definitely can hear some saxophones encroaching there too. It may be formulaic, but it's a tried and true formula, and The Four Tops turn in one of their best albums."

"There are three recognisable hits, the other songs are, for the most part, not as good. However, they are all exciting, uptempo songs, and are all of a fairly high standard."

"The album opens with I Can’t Help Myself, which topped the charts and provided them with their first British hit. The lyrics are slightly silly but the song has an irresistible, infectious beat."

"Filled with songs written mostly by Holland-Dozier-Holland with a few by Smokey Robinson and one or two co-writers. Later albums would include plenty of covers but they are absent here. This album marks the beginnings of a great career

Take Me For What I’m Worth – THE SEARCHERS***

I’m Ready/I’ll Be Doggone/Does She Really Care For Me/Its Time/Too Many Miles/You Can’t Lie To A Liar/Don’t You Know Why/I’m Your Loving Man/Each Time/Be My Baby/Four Strong Winds/Take Me For What I’m Worth

The Merseybeat group The Searchers released many excellent singles but by the end of 1965 they were running out of steam. The title track from this, their final album of note, reached No. 20 in the UK.

“This was apparently the last proper Searchers album, and to be honest it is quite dull. Take Me For What I'm Worth is the album's only single and a far cry from their superb bunch of hits of the previous year.”

“The style varies from R & B to folk, and the guys have even written four songs themselves. That would be a plus, if only one of them were more than OK. Be My Baby is a quite useless cover, not bad, but unessential. Songs like Fats Domino's I’m Ready are simply not the reason why one likes this band in the first place. The Searchers had great harmonies, but rock & roll is not necessarily their forte.”

“The Searchers had first rate singles and B sides that ranked with the best of the British Invasion, but their albums were often erratic. Take Me For What I'm Worth was no exception. No one could doubt that The Searchers played and sang well on all recordings, but they had an unfortunate tendency on albums to record well known hits of other artists, or R & B tracks that did not lend themselves well to the group's talents. The Searchers were usually at their best with folk-rock and Merseybeat oriented material, and were experts at digging up strong and obscure tunes. My personal favourites are the P.F. Sloan folk-rock title track, Ian Tyson's Four Strong Winds, Jackie De Shannon's Each Time, and the group original Too Many Miles."

“The Searchers were not only slipping in popularity by the time of this release, but were also slipping considerably behind the prevailing musical trends of the times. Maybe that's why they offered more original tunes than usual. Still, the group sounded pretty much like they always did in the mid-'60s, though this is perhaps one of their weaker albums. Their interpretation of P.F. Sloan's anthemic protest folk-rock title track is good, and gave the group their final British Top 20 hit. But, as usual, their R & B covers are inoffensively second-rate and dated, and the originals unmemorable. Their cover of Be My Baby is competent but ill-advised. The harmonies and arrangements are never less than pleasant and professional, but fans will count this among their lesser relics.”

Magic Of The Minstrels – GEORGE MITCHELL MINSTRELS**

Clap Your Hands/Nice Work If You Can Get It/My Bonnie/Its A Small World/Let’s Dance/Wouldn’t It Be Loverley/Old Macdonald/Your Requests

Its getting near Christmas so it must be time for another Black & White Minstrels LP. Magic Of The Minstrels was their sixth annual release. The grown ups could look forward to another decade of the TV show before it succumbed to changing political mores. (UK:9)

"Although largely forgotten now, there was a time when The Black & White Minstrel Show was a staple diet in British homes. First airing on television in 1958 it would run for the next twenty years, pulling in audiences of 18 million at its height."

"Putting aside the arguments over the political incorrectness of the shows, as recorded music The Minstrel's albums were full of polished performances and superb arrangements. They may appeal to only a certain section of the public today, but it must be remembered that in the first half of the 1960s they featured in the album charts, including at times the number one spot, holding their own against musical soundtracks and the dominance of the rock and pop of the era."

"Back to good old times. A feel good sing-a-long disc, excellent harmony arrangements. Why can't we have these on DVD; they were fun and not offensive."

Looking Thru The Eyes Of Love – GENE PITNEY***

I Must Be Seeing Things/Marianne/Save Your Love/Down In The Subway/If Mary’s There/Don’t Take Candy From A Stranger/One Day/She’s Still There/Just One Smile/I Lost Tomorrow(Yesterday)/If I Never Get To Love You/Looking Thru The Eyes Of Love

Powerful balladeer Gene Pitney was at the height of his popularity in the UK during 1965 although he was beginning to fade in his native USA. The title track was a No. 3 UK hit single, with I Must Be Seeing Things and Just One Smile reaching No. 6 and No. 8 respectively. (UK:15)

"Looking Thru The Eyes Of Love sounds perfect as Gene gives this his all - it works wonderfully."

"More than a true original, Pitney remained unique. His heart-breaking tenor and it's effect on listeners has never been duplicated by another vocalist in all these years."

"Yes, one can smile through tears listening to Gene Pitney's gorgeous voice and perfect phrasing to young love's agonies and ecstasies. His beautiful voice, and his creative mind and heart, enabled him to express emotions for me in song, over and over again."

"He was one of the giants of his era, creating unforgettable musical novellas every bit as dramatic and powerful as the now more celebrated Roy Orbison."

"Unlike so many popular singers whose idea of creating musical drama is merely louder and louder screaming, Pitney's voice rose with power and pathos to a stunning climax, leaving the listener emotionally exhausted yet auditorily unfatigued."

"His magnificent voice and reading of these top-notch compositions lead to some of the most exciting, rewarding and emotionally charged pop to emerge from the 60s."

"Looking Thru The Eyes Of Love is another Gene Pitney classic song that reminds me of a time when music was truly listenable and memorable."

"Just One Smile has a haunting melody with some strange chord progressions and key changes. Very hard to play until you learn the pattern."

The Kink Kontroversy – THE KINKS***

Milk Cow Blues/Ring The Bells/Gotta Get The First Plane Home/When I See That Girl Of Mine/I Am Free/’Till The End Of The Day/The World Keeps Going Round/I’m On An Island/Where Have All The Good Times Gone/Its Too Late/What’s In Store For Me/You Can’t Win

The Kink Kontroversy was the last of The Kinks' heavier bluesy releases. Includes the UK No. 8 single Till The End Of The Day. Ray Davies would now move the band towards a softer, more reflective sound. (UK:9)

"The Kink Kontroversy is a transitional work, with elements of both the earlier Kinks' styles, heavily blues-influenced songs such as Milk Cow Blues and variations on the band's hits such as Till The End Of The Day and early indications of future direction in songwriting styles, The World Keeps Going Round and I'm On An Island."

"Kinks at the Krossroads. Most of the highlights on this one point to the future, while most of the low points lean on the past. Perhaps the most solid-sounding thing on the album is Till The End Of The Day, which simultaneously echoes the power-chord hits of their past and injects a more melodic edge."

"The Kinks, not surprisingly at this stage were very much a singles band, but this was their first noticeable studio album. Ring The Bells and I'm On An Island are especially impressive. At this time very few people would have taken a Kinks' album seriously, but this was thankfully about to change."

"The disparity in the quality of The Kinks singles, where a whole day would be given over to recording the one song, compared to recording an album's worth of songs in a mere matter of days, was always going to be noticed."

"Although The Kinks are most popularly associated with the riff-rock numbers of their early repertoire, and while aficionados endlessly praise the later albums, Kontroversy finds The Kinks in a fruitful mid-period, the emphasis on solidly constructed, folk influenced pop. In case we forget The Kinks are a rock band, they dish up plenty of sneering garage-punk on Till The End Of The Day and Where Have All The Good Times Gone."

"The album is mostly songs in the well known Kinks style. All songs except one are self-penned, and is a mixture of rockers and softer songs."

The Ipcress File – SOUNDTRACK***

Main Title Theme/Alone In Three Quarter Time/Meeting With Grantby & Fight/Jazz Along Alone/The Death Of Carswell/A Man Alone/A Man Alone/If You’re Not Clean I’ll Kill You/Alone Blues/Goodbye Harry/Goodbye Harry (Continuation)/A Man Alone

Based on the book by Len Deighton The Ipcress File starred Michael Caine as the British spy Harry Palmer. The music was scored by John Barry and the soundtrack LP was rather less successful than the composer’s James Bond albums of the time. (US:133)

“This is guaranteed to take you back to London in the 1960s. There is a loneliness about this music that perfectly matches the espionage job Harry Palmer has to do. In fact many of the tracks are called 'Alone' and Alone Blues in particular is sublime. Many of the tracks have an emotional, wistful quality in their own right and the power instantly to evoke a smoky, London seediness of another age. It positively transports you. Atmospheric is an understatement.”

"The Ipcress File is a defining soundtrack, crystallizing all the elements that would go on to become commonplace in soundtracks focusing on the dark end of the street. The ominous vibes, the bleak saxophone, the sparseness, even the Michael Caine dialogue, it's a spy thriller defined. Naturally, soundtracks tend to milk their main theme a fair bit, it goes with the territory, but when the theme is as extraordinary and other-worldly as this one it barely seems to matter.”

“It's probably one of Barry's best - certainly it's amongst his darkest. Jazzy minor key pieces are the main tactic, and at times the tension is cranked to maximum - e.g. Meeting With Grantby & Fight. Although it's par for the course with a lot of OST music, I have to say this album does trade on reprising a bit too much for my tastes.”

"The Ipcress File hails from the most liberating experimental period in film music. Composer John Barry could choose an instrument such as the twanging cimbalom without worrying that it was geographically inaccurate. His Man Alone theme, therefore, made a big impression in 1965 and has proved one of his most lasting.”

“This album features the Man Alone theme in all its incarnations. There's Jazz Along Alone, Alone In Three-Quarter Time and Alone Blues. Even though the theme never overstays its welcome, there are other great tracks in between, most of which perpetuate the film's darkly mysterious atmosphere"

Houston – DEAN MARTIN***

Houston/The First Thing Ev’ry Morning/Hammer & Nails/Little Lovely One/Love Love Love/Down Home/I Will/ Snap Your Fingers/Everybody But Me/Old Yellow Line/Detour/You’re The Reason I’m In Love

Legendary crooner Dean Martin enjoys a third hit album in 1965. Houston contains the US No. 10 hit single I Will covered in the UK by Billy Fury. Future chart success would become more erratic. (US:11)

"By the time of Houston, Martin is moving in new directions, notably pop/rock and an updated middle-of-the-road pop style best heard on the hit I Will. Still, the basic approach was a variant on Nashville sound country-pop, as on the Roger Miller-like Houston. The ever-versatile Martin seemed to be at home no matter what the backing."

"Houston is a good mix of country and pop songs. I Will, the last US top ten hit of his career, was perfect for Dean."

"It doesn't get any better than this for Dean Martin fans. Houston is Dean at his coolest."

"This is a truly wonderful excellent recording of some of Dean's great songs. It truly is worth owning and having this wonderful group of songs to listen to."

"I Will is a magical song perfected by a magical singer, effortlessly perfect."

Harum Scarum – ELVIS PRESLEY***

Harem Holiday/My Desert Serenade/Go East Young Man/Mirage/Kismet/Shake That Tambourine/Hey Little Girl/ Golden Coins/So Close Yet So Far/Animal Instinct/Wisdom Of The Ages

Harum Scarum was Elvis's second soundtrack album released in 1965. The continued release of sub par soundtracks significantly dented his reputation during the mid to late sixties. (US:8 UK:11)

"Sure, most of Presley's films were fluffy stuff. No matter, the songs were written by men at the peak of their craft and performed by musicians who were masters of their instruments."

"One major characteristic of Elvis Presley's films and soundtracks is that they all travel around the globe. The soundtracks in particular, based on the given locale, tend to mix international ethnic orchestrations with the unmistakeable Elvis sound. Who else can master a tune with Middle Eastern feeling and make it western to our ears."

"We do have some typical rockers like Shake That Tambourine and Hey Little Girl that could be easily placed on any other Presley soundtrack. Basic yet effective ballads such as Kismet and the now to be recognized as the most eastern in feeling and delivery from Presley, Golden Coins. Do listen to the overall slow tempo, and the flute accompaniment, to Presley's soft yet solid performance."

"Harum Scarum was knocked down by many as the worst Elvis film. However, the soundtrack is fantastic with a great desert beat and fine songs such as Go East Young Man and Shake That Tambourine."

"So, how is the music? Not very good, actually. RCA Records thought so little of the soundtrack that they didn't even bother to release a single from the album. The only song that I would call 'good' is So Close Yet So Far, and it's not that good. Most of the other songs are pretty bad, although a few of them, like Shake That Tambourine and Hey Little Girl have a certain energy."

"These pictures, pure formula and hardly distinguishable from each other in terms of plot or characterizations, produced a handful of good songs and barrels of bad ones. Overall, the music was a million miles from the sizzling electricity of the pre-army days."

Greatest Hits! – JAY & THE AMERICANS****

Some Enchanted Evening/Come A Little Bit Closer/Only In America/When Its All Over/Think Of The Good Times/ Goodbye Boys Goodbye/Cara Mia/Something In My Eye/Girl/Let’s Lock The Door(And Throw Away The Key)/If You Were Mine Girl/Run To My Lovin’ Arms/Through This Doorway

Jay and The Americans placed several well crafted pop singles onto the higher reaches of the US singles chart during the mid sixties. Their Greatest Hits would be their highest album chart placing. (US:21)

"These are the short pop tunes of the 60s variety, but with more complex, somewhat ahead of their time, big band type arrangements on most of the songs. Jay has a really gifted singing voice that delivers. There are lots of super songs in this collection. If you like boy/girl romantic pop songs, this will be a very good buy." ,p> "Jay Black has one of the most operatic voices in rock and roll. Listen to him belt out Cara Mia. I believe he holds one note for over fifteen seconds. Jay's powerful voice is reminiscent of Roy Orbison's. This is a stunning collection. It's the kind of music that really pumps you up and gets you going. It energizes."

"Jay & The Americans were always one of my favourite groups. That voice! This LP doesn't disappoint. For someone wanting to know what good, old fashioned vocals should sound like, I recommend this one."

"Throughout the 1960s Jay & The Americans remained a step out-of-time. They hung on to their doo-wop inspired sound long after the genre had faded from pop's main stage, stuck with orchestrated, theatre inspired vocals as the British Invasion pushed the guitar up front."

"Those who listened to pop music in the mid-60s can't help but remember the powerful three-octave voice of Jay Black. The hits just poured from this talented group. Only In America, Cara Mia and Come A Little Bit Closer were the biggies."

"Jay & The Americans produced great music in their day; and this LP has some of their very best tunes. They had a fantastic ability to make any number meaningful, strong and memorable with their sophisticated phrasing and keen sense of timing."

"In the history of pop/rock music, Jay Black stands out as having the greatest voice I have ever heard. This LP does that voice justice, presenting it in its full potential."

Golden Hits – ROGER MILLER***

King Of The Road/Dang Me/Engine Engine No.9/In The Summertime/You Can’t Roller Skate In A Buffalo Herd/(And You Had A)Do Wacka Do/England Swings/Chug A Lug/One Dying And A Burying/Kansas City Star/Atta Boy Girl/It Just Happened That Way

Golden Hits was a timely hits collection from country humorist Roger Miller, then at the peak of his popularity. His albums would continue to dent the lower reaches of the chart until the start of the next decade. (US:6)

"Golden Hits nicely captures Roger Miller's evolution as an artist during his years on the Smash label. It includes his silly novelty hits Dang Me, Chug A Lug and Do Wacka Do, plus normally sombre subjects like destitution (King Of The Road) and abandonment (Engine Engine #9)."

"Engine Engine #9 is enjoyable, yet rather straightforward (by Miller standards), and In The Summertime features his trademark phrasing, irregular metre changes, and some of the funniest yodelling on record."

"Roger Miller is a member of the small fraternity of musical humorists, but with a difference; his offerings are good music with a comic twist, not comedy set to music. There is a sincere, heartfelt quality to these songs, even if some of the lyrics border on the nonsensical."

"Roger's signature song, and the headliner of the album, is King Of The Road. For sheer silliness, you can't touch You Can't Roller Skate In A Buffalo Herd. However, listen to the forlorn longing in Engine Engine #9 or One Dying & A Burying, and you'll find a whole different perspective to Roger Miller's talents."

"Yes, there's a lot of humour in these songs, but there's also a lot of good music. Give Roger Miller's Golden Hits a listen and enjoy."

"Roger Miller was unique in the sense of his ability to construct story telling with a dark image of hilarity. Although not having a great voice, his capability of song writing was in fact a treat."

"Roger was a little bit country, a little bit folk, and a whole lot genius. He was a true modern balladeer and a great folk poet."

Going To A Go-Go – SMOKEY ROBINSON & THE MIRACLES****

The Tracks Of My Tears/Going To A Go-Go/Ooo Baby Baby/My Girl Has Gone/In Case You Need Love/ Choosey Beggar/Since You Won My Heart/From Head To Toe/All That’s Good/My Baby Changes Like The Weather/Let Me Have Some/A Fork In The Road

Smokey Robinson & The Miracles achieved their only US top twenty album chart appearance of new material with Going To A Go-Go. Includes the US top twenty singles Ooo Baby Baby, My Girl Has Gone, Going To A Go-Go and Tracks Of My Tears, the last of which reached No. 9 in the UK. With one exception all the songs were written by Smokey Robinson. (US:8)

"Tracks Of My Tears is a top 100 best songs ever candidate. Seriously now, if you've never heard it go look it up this instant. It is a wonderfully constructed song. Smokey's emotionally charged tenor works perfectly in songs like this. But it does not work so well on more upbeat party oriented songs like the title cut. Someone with more force and less emotion should handle these. Several other strong songs here too, but nothing on the level of Tracks."

"Smokey Robinson's voice is nothing short of incredible. So smooth, so expressive, so beautiful. The songs themselves are all amazing pop too."

"The first three singles are stone-cold classics but the fourth single My Girl Has Gone and the rest of the tracks are little more than formulaic and generic filler, pleasant but forgettable. At this point Motown were clearly a singles label."

"You're never going to be able to capture all of the talent and excitement of Smokey Robinson & The Miracles on a single album, but if you're the type that would rather experience an LP release rather than a collection of singles and songs, Going To A Go-Go is a great choice."

"Going To A Go-Go is in my opinion, the best album by this group. It was a mini-greatest hits in itself as it contained every one of their 1965 singles and their flip sides."

"Going To A-Go-Go, is one of the most brilliant albums of Smokey's career. The Tracks Of My Tears must surely rate among the best singles ever written, and Ooo Baby Baby is perhaps the most intensely emotional track ever written."

Do You Believe In Magic – THE LOVIN’ SPOONFUL****

Do You Believe In Magic/Blues In The Bottle/Sportin’ Life/My Gal/You Baby/Fishin’ Blues/Did You Ever Have To Make Up Your Mind/Wild About My Lovin’/Other Side Of This Life/Younger Girl/On The Road Again/Night Owl Blues

Do You Believe In Magic was the debut album from tuneful mid sixties US rock group The Lovin' Spoonful. Features the Grammy winning title track, a No. 9 US hit and Did You Ever Have To Make Up Your Mind which peaked at No. 2. (US:32)

"Formed in the Greenwich Village in 1965 The Spoonful were one of the first, and best, American bands to appear in the wake of the British invasion. Their music was an original blend of pop, rock and roots elements. It remains vital listening today."

"The Lovin' Spoonful have built their reputation on their hits, and that reputation could vaguely be described as a mild, cutesy 'psycho-folk' bunch of sissies. But in reality, their debut album adds many more different influences to the melting pot than that reputation would suggest, and they come out with a decidedly diverse 'n' delicious collection."

"Instrumentally, the band was very strong. Sebastian was a gifted multi-instrumentalist, Yanovsky had realized his own fusion of folk/country/blues/rock guitar and the rhythm section was rock solid. In addition, Erik Jacobsen produced the LP expertly, letting the musicians' ample room to be creative."

"In the fall of '65, The Spoonful burst onto the national scene with Do You Believe In Magic. It was the first of a string of ten hits over the next two years."

"This first album from The Lovin' Spoonful is a masterpiece. The original songs are fun and a few of the big hits are among them. The rest of the songs are traditional blues and folk songs set to the bubble gum California stylings."

"The title track Do You Believe In Magic is a fun, light-hearted song. I love it. Sebastian, et al. are virtuosos at creating a 'feel good' atmosphere and incorporating a delightful blend of country into many of their songs. The result is a musical tapestry of folk, country and rock."

Best Of – HERMAN’S HERMITS***

I’m Henry VIII I Am/Mrs Brown You’ve Got A Lovely Daughter/Mother In Law/I’m Into Something Good/ Silhouettes/Just A Little Bit Better/Can’t You Hear My Heartbeat/The End Of The World/Sea Cruise/I Gotta Dream On/Wonderful World

This was a premature best of collection from the British Invasion pop group Herman’s Hermits. With another five years of hit singles still in front of the group there are much better compilation albums available. (US:5)

"Herman's Hermits do a wonderful cover of the 50s torch song Silhouettes and the guitar work is nothing short of excellent - I love it. Can't You Hear My Heartbeat was another huge hit for this group; and they sing this to perfection - and beyond."

"They had just one British number one, their first release, I'm Into Something Good. This Goffin/King song is very characteristic of the time, with its teen-love lyrics and catchy tune, and remains the trademark Hermits song."

"Mrs Brown You've Got A Lovely Daughter was one of a trio of quaintly British novelty songs that were the mainstay of their US success, but were quite rightly never released as singles in the UK, where they would have been seen as old material that had already been performed better by other artists. Despite these negative comments, the Hermits were an essential part of the sixties scene."

"Peter Noone and crew serving up tune after tune that many of us grew up on. It rarely gets any better than this, if you're a serious fan of this genre. It was nice to once again hear the original recordings of gems like I'm Into Something Good, Silhouettes and Can't You Hear My Heartbeat." "Few bands were as good in their niche as Herman's Hermits. They had great talent and always did fun songs that were innocent for kids in grade school, like I was. Great music and harmony."

"Today's musicians could learn a lot, not only from the Herman's Hermits, but from all of the musicians from the 1960s. That was back when music was music."

Beach Boys' Party! – THE BEACH BOYS***

Hully Gully/I Should Have Known Better/Tell Me Why/Papa-Oom-Mow-Mow/Mountain Of Love/You’ve Got To Hide Your Love Away/Devoted To You/Alley Oop/There Is No Other(Like My Baby)I Get Around-Little Deuce Coupe (Medley)/The Times They Are A-Changin’/Barbara Ann

Beach Boys Party is regarded as disappointing album, cobbled together to provide Christmas product for the group's expectant fans. Alas, the strategy worked as it topped the US album chart. The faux party atmosphere provides a vehicle for covers of mostly other artists’ hits. Barbara Ann was a No. 2 hit single in the US and No. 3 in the UK. (US:1 UK:3)

"Not bad, but it featured Barbara Ann, which was The Beach Boys first UK top five hit, and led to their invasion of our pop charts."

"The Beach Boys, because they actually performed the songs in the studio, sound much more competent than they actually did live at this time. Most of the songs are pretty lightweight, but fun. And I do agree that the background chatter gets incredibly annoying at times."

"After scoring two hit albums and smash singles The Beach Boys' label seemed insatiable. So, the company retreated into a studio with little more than some acoustic guitars, a couple of bongos, and their spectacular voices to present what seemed a spontaneous performance of band chestnuts, three cuts by arch-rivals The Beatles, some telling oldies, and even Dylan's The Times They Are A-Changin'."

"The Party album includes a lot of annoying background chatter, clapping, etc., allegedly added after the original sessions. But it's an interesting album anyway, featuring the guys with all acoustic instruments aside from a bass guitar."

"The Party album is a lot of fun, especially if you already know the cover songs before hearing the Beach Boys tackle them."

"In late 1965, Brian Wilson was working on his masterpiece, Pet Sounds. Capitol Records was pressuring him for a new Beach Boys album in time for Christmas, but Brian wasn't about to rush to finish Pet Sounds. So, a compromise of sorts was reached. The Beach Boys went into the recording studio and quickly banged out the Party album. It features the boys playing acoustic instruments and singing covers. It's a fun album, but not really one of the band's best."

At The Pigalle – SHIRLEY BASSEY****

A Lovely Way To Spend An Evening/On A Wonderful Day Like Today/I Get A Kick Out Of You/Who Can I Turn To/You’d Better Love Me/The Other Woman/He Loves Me/With These Hands/A Lot Of Living To Do/I(Who Have Nothing)/La Bamba/You Can Have Him/The Second Time Around/The Lady Is A Tramp/Somewhere/On A Wonderful Day Like Today/A Lovely Way To Spend An Evening

Shirley Bassey At The Pigalle was the first live album from Britain's most consistent female vocalist. Recorded in September 1965 during an eight week engagement at London's West End Pigalle nightclub. (UK:15)

"At The Pigalle features a younger Bassey with a set of mainly show tunes."

"At The Pigalle is a an intimate affair which finds Bassey singing some superb standards as well as her hits With These Hands and I Who Have Nothing. Bassey sounds confident and relaxed, her vocals are assured; there is no sign of the shrillness that is often found in her studio recordings leading up to this performance."

"This live concert capture some of her finest work and shows a very sultry and intimate Shirley Bassey with songs like I Get A Kick Out Of You and the show stopping The Lady Is A Tramp, just to name a couple. Miss Bassey also pays tribute to Nina Simone with a wild rendition of La Bamba."

"Although Shirley Bassey fills huge concert halls throughout the world, she is just as powerful and electrifying and at home in a nightclub setting. The set At The Pigalle is a bombastic performance with an equally bombastic audience."

"This 1965 performance was near perfect and Shirley belted them out in her usual robust style. Critics compared her to Judy Garland and Lena Horne, and that is magnificent company to be in."

At The Copa – THE SUPREMES***

Put On A Happy Face/I Am Woman You Are Man/Baby Love/Stop In The Name Of Love/The Boy From Ipanema/Make Someone Happy/Come See About Me/Rock-A-Bye Your Baby With A Dixie Melody/Queen Of The House/Group Introduction/Somewhere/Back In My Arms Again/Sam Cooke Medley

At The Copa was the first live album from the Motown hit making machine The Supremes. Performed to a largely white audience, the inclusion of MOR standards in their act now seems out of place, although at the time it was a common practice by artists hoping to crossover into the then musical mainstream. (US:11)

"The Supremes At The Copa suffers from its inclusion of numerous standards that pre-date rock & roll, in an attempt to appeal to the conservative New York audience. Compared to the group's own signature tunes and a medley of Sam Cooke songs, these others seem to fall very flat. Even the audience seems to react more enthusiastically to the opening strains of Baby Love and Come See About Me. In this live setting these tunes take on an added ferocity, and highlight the astounding songwriting and musicianship that was so central to Motown's success."

"Supremes At The Copa is the result of Gordy achieving his dream of creating the perfect pop/R & B crossover group and seeing them fully embraced by a white audience. This album contains a few show tunes, great stage patter, and re-workings of contemporary Motown gems, given stunning makeovers as upbeat MOR hits, aimed at a middle-aged and somewhat jaded white supper club audience. The result was a smash run of shows for The Supremes, and this records three young ladies who were not yet at their peak, but were nevertheless seasoned entertainers."

"Check out the Sam Cooke medley. It starts off slowly, but by the time they reach Bring It On Home To Me and Shake, they are on full-speed. Queen Of The House is a timely novelty number, and I Am Woman is an uptempo arrangement to which Streisand could never do justice."

"A forgotten treasure, long out of print, worth seeking."

"Great album. These tracks are among the last by the original (Florence Ballard, Diana Ross, and Mary Wilson) Supremes recorded shortly before their breakup. This album, along with a TV special featuring the songs of Rodgers and Hart, was an attempt to polish their images and extend their appeal to a more adult audience."

The Shadow Of Your Smile – ASTRUD GILBERTO****

The Shadow Of Your Smile/(Take Me To) Aruanda/Manha de Carnaval/Fly Me To The Moon/The Gentle Rain/ Non Stop To Brazil/O Ganso/Who Can I Turn To/Day By Day/Tristeza/Funny World

The second solo album from Brazilian vocalist Astrud Gilberto, The Shadow Of Your Smile, is more mainstream easy listening than her earlier bossa nova style material. (US:68)

"The Shadow Of Your Smile is a heavenly listening experience from the first note to the last, brimming with innocence, sadness and beauty. Particularly fascinating is the unity which the record manages to achieve. It mixes together then current American songs with a few by Brazilian masters Luiz Bonfa and Carlos Lyra. Somehow, it all fits together into one coherent whole, with each opposing influence synergistically complementing the rest."

"Lovely is one of those words foreigners use to describe something they think is wonderful but they don't really know about it. I personally have a love affair for Astrud's exotic and distantly beautiful voice. She will forever hold a special place in my heart."

"This is a good one, as Astrud breaks free of bossa nova typecasting and emerges as a full-fledged '60s songbird, with her near definitive version of The Shadow Of Your Smile. A special hybrid, she's neither a Brazilian nor an American singer, and not really an 'international' one either. Her wistful, amateur sound has worn extremely well however - it has the virtue of simplicity and honesty."

"Gilberto's voice is so cool and collected that it's hard to believe that she basically walked into the studio and cut these and her other classic tracks without any formal training. All the tracks here are worth a listen. My only complaint is that there weren't more of them, and that most of them don't run a little longer."

"Great easy listening with soothing and pretty female vocals. The songs are quite emotional, with a beautiful sadness to them that only the mid to late 60s could bring. Just fantastic."

"Some of the songs here are utterly confident and among the best Astrud ever recorded. Manha De Carnaval floors me with its beautiful guitar arrangement and simply wonderful unadorned vocals."

See What Tomorrow Brings – PETER PAUL & MARY****

If I Were Free/Betty & Dupree/The Rising Of The Moon/Early Mornin’ Rain/Jane Jane/Because All Men Are Brothers/Hangman/Brother Can You Spare A Dime/The First Time Ever I Saw Your Face/Tryin’ To Win/On A Desert Island/The Last Thing On My Mind

By their fifth studio album See What Tomorrow Brings, Peter, Paul & Mary had been eclipsed by Bob Dylan as the leading voice in the folk protest movement. Nevertheless, they still enjoyed strong sales and critical plaudits. (US:11)

"I have always felt that this album was the one that matched the authenticity and freshness of their classic In The Wind. It is a very strong album with wonderful versions of Early Morning Rain, Last Thing On My Mind and First Time Ever I Saw Your Face. In fact, I would say, definitive versions. Some have criticised them for being 'too sugary and perfect' but this is a lovely album that stands out from its time."

"See What Tomorrow Brings is a very satisfying and enjoyable album. It may not match the first three albums in consistent quality, but there are some excellent performances here. Vocally, they are as haunting as ever, particularly on Because All Men Are Brothers. These tracks are gorgeous, and as in all their work, sung with pure emotion and belief in the song being sung. The album is marred by the inclusion of a few cuts - Brother Can You Spare A Dime? does not really work, and On A Desert Island is pure filler."

"Released around 1965, this album showcases PP & M in their heyday. You get a wide variety of types of songs, in a wide variety of arrangements, so that the old cliché of something to please everyone is pretty close to the mark. One of the strangest tracks is On A Desert Island, a British music hall song from the turn of the last century, and done precisely in that style."

"PP & M not merely in their prime, as astute fans have commented, but at the very peak of their powers."

"I have listened to this album many times since it was first released, and I am never disappointed. The songs are exciting, and the voice of Mary Travers is bewitching. Anyone who likes Peter, Paul and Mary should have this album; it is their best."

The Paul Butterfield Blues Band – THE PAUL BUTTERFIELD BLUES BAND****

Born In Chicago/Shake Your Money Maker/Blues With A Feeling/Thank You Mr Poobah/I Got My Mojo Working/Mellow Down Easy/Screamin’/Our Love Is Drifting/Mystery Train/Last Night/Look Over Yonders Wall

Self titled debut album from the influential Chicago based blues-rock band. The mid 1960s saw a flowering of blues rock groups on both sides of the Atlantic. (US:123)

“This debut album by The Paul Butterfield Blues Band is a very satisfying work. The album includes eleven electric blues and blues rock numbers, and most offer great entertainment for blues lovers. Their sound is quite unique and, while this might not be that complex or instrumentally brilliant music, it still does it's job really well. But even if most of the songs are great there are still a couple of tracks which fail to impress.”

“The Paul Butterfield Blues Band is one of the finest examples of authentic Chicago Blues I can think of. This debut album is a lost classic and wildly under appreciated on many fronts.”

“A very solid collection of songs, performed very well. Mike Bloomfield is just one of the all time great blues/rock guitarists and his mere presence here elevates the songs.”

“Butterfield's debut LP burst on the scene in 1965 and the blues, rock and pop scenes were never the same after its release. It contains a variety of blues styles as well as what became the bands signature song, Born In Chicago plus the Bloomfield gem Screamin’. If you love Butterfield, this is a must have. If you are unfamiliar with him, this is the place to start.”

“They don't make music like this anymore. Its a twist of Rolling Stones and Cream. As for Mike Bloomfield, to me he is one of the best in his field. So if you like The Stones or Cream you will like this.”

“This is classic Chicago blues - few of the tunes are originals. But with a guitarist like Mike Bloomfield, this is an early example of what blues can sound like when a loud player with a rock punch applies himself to the music. The album gives you both an old style blues nuance and the edgy feel of the rising rock scene of the 1960s.”

Pastel Blues – NINA SIMONE****

Be My Husband/Nobody Knows You When You’re Down & Out/End Of The Line/Trouble In Mind/Tell Me More & More & Then Some/Chilly Winds Don’t Blow/Ain’t No Use/Strange Fruit/Sinnerman

Pastel Blues was a well received album of mainly blues songs from Nina Simone, but also includes some jazz and folk. Her piano playing was accompanied by a small band. (US:139)

“Pastel Blues can only be described as flawless. Nina Simone can only be described as flawless. A voice totally unlike any I have ever heard. Its easy to see while she influenced so many great soul singers. Trouble In Mind and Sinnerman are moving beyond description.”

“Nina Simone's deep and rhythmic vocals seem to make everything perfect. What makes Pastel Blues different, and probably better, than the rest of her stuff is the song selection. Fantastic tunes make this album so easy to listen, and to enjoy, that I couldn't help becoming addicted from the first time I heard it.”

“Pastel Blues has been my introduction to Nina Simone and I’m already finding it hard to believe anything of hers after this will be able to surpass it.”

“Pastel Blues is much grittier and rawer than its title may suggest. It finds Simone revelling in the focus placed on her voice and piano. As well as blues, she employs various styles including jazz and folk, with a number of electrifying highlights.”

“This is Nina at the piano, joined by a small band as she ignites a set of late night torch songs including her stunning version of Sinnerman, and much more.”

“This is one of my favourite records from the best female piano player in popular music. These blues are played out and sung by Nina in her vocal prime and you can hear the sound of her southern roots, in her playing and her voice, better here than just about any of her other albums.”

“The album concludes with a live ten minute version of Sinnerman. If you're a Simone fan, that's all you need to know. If you're not, you should be.”

“It's Nina Simone; how can you not love this? She is fantastic. There just aren't enough artists like this out there anymore.”

Otis Blue – OTIS REDDING*****

Ole Man Trouble/Respect/A Change Is Gonna Come/Down In The Valley/I’ve Been Loving You Too Long/ Shake/My Girl/Wonderful World/Rock Me Baby/Satisfaction/You Don’t Miss Your Water

Otis Blue was the classic album from soul legend Otis Redding. It is now recognised as one of the greatest soul albums. Backing is by Booker T & The MGs. (US:75 UK:6)

"Otis Blue includes covers of three songs by Sam Cooke, Redding's idol, who died the previous December. Their styles couldn't have been more different; Cooke smooth and sure, Redding raw and pleading. But Redding's versions of Shake and A Change Is Gonna Come show how Cooke's sound and message helped shape Redding's Southern soul sound. Redding's singing reaches a new level of expressiveness with this as well as with covers of B. B. King's Rock Me Baby and the Motown hit My Girl."

"Otis Blue has always been that rarest of beasts: a '60s soul album that could actually have been made as an album, rather than as a slapdash assortment of singles and fillers. The point being that there is no filler among these eleven classic Redding tracks. Otis Blue captures Redding at the very peak of his raw, unpolished powers."

"Eight of the eleven selections are cover tunes, but Otis and crew attack the material with such passion and precision that it escapes the usual haphazard feel of a full length record slapped together around a few strong singles."

"Otis Redding's Otis Blue is among the greatest albums ever made. Every moment of this record is breathtaking. This is one of the earliest albums that was true soul, and it is most likely the best. All eleven songs are incredible. Otis Blue shows just how great a singer Redding was."

"Otis Redding's voice is incredible. Few people could sing like Otis Redding. Whether it is a slower song, such as I've Been Loving You Too Long, an upbeat song, such as Respect or even a blues song, such as Rock Me Baby, Redding's voice shines. There isn't one moment on this album where one would question the greatness of his voice."

My World – EDDY ARNOLD***

What’s He Doing In My World/Too Many Rivers/It Comes & Goes/Make The World Go Away/The Days Gone By/Mary Claire Melvina Rebecca Jane/I’m Letting You Go/As Usual/I’m Walking Behind You/If You Were Mine Mary/Taking Chances/You Still Got A Hold On Me

Country star Eddy Arnold achieved his first US top twenty hit album in sixteen years with My World. It contains the US No. 6, and UK No. 8, hit single Make The World Go Away. Success on this scale would elude him for the rest of his long career. (US:7)

"While this set is really devoid of hits other than What's He Doin' In My World and Make The World Go Away it still stands as a testament to the talent of Eddy Arnold and the smoothness of his voice. The music on this set is timeless."

"Witness his take on Too Many Rivers and Days Gone By, and you'll find out why Eddy was so popular. Even seemingly throwaway material such as Mary Claire Melvina Rebecca Jane is rescued from the mundane by Eddy Arnold."

"For anyone wanting a better taste of mid-60s Arnold, this is the place to start looking."

"The clear, sweet voice of Eddy Arnold is so refreshing. Eddy Arnold has a wide vocal range."

"Eddy Arnold was one of the 'oldies' - his soothing voice and easy sounds still make me woozy. Best of the best."

"In today world it is a blessing to sit or work and listen to the soothing music of Eddy Arnold. It mellows you out and you enjoy listening to the words of a great artist."

"Make The World Go Away - I wish songs were like this now. They are so beautiful, and there's a sound to it, a non-autotuned natural sound to it, it's just enjoyable."

My Name Is Barbra Two – BARBRA STREISAND*****

He Touched Me/The Shadow Of Your Smile/Quiet Night/I Got Plenty Of Nothin’/How Much Of The Dream Comes True/Second Hand Rose/The Kind Of Man A Woman Needs/All That I Want/Where’s That Rainbow/No More Songs For Me/Medley (From TV Show)

Acclaimed vocalist Barbra Streisand released My Name Is Barbra Two, the second album inspired by her TV special. It became her first chart LP in the UK and contains the British top twenty hit Second Hand Rose. (US:2 UK:6)

"My Name Is Barbra Two showcases the fantastic early singing voice of the great Barbra Streisand who's voice is, as you would expect, in perfect form throughout. Barbra Streisand certainly proves her talents with this album, and I heartily recommend it for her fans."

"In the mid 60s Barbra used her voice in unsubtle ways. Her interpretations, even in softer songs seemed to resonate with incredible power and force. My Name Is Barbra Two, is an example of this kind of technique. This album contains some of the most thrilling work of Barbra's career. On these cuts she produces the kind of vocal thrills that send listeners' hair on ends."

"The pot of gold at the end of the rainbow is this brilliant collection and great singing doesn't get better than this. Barbra hit a new peak with the release of this masterpiece. I became a fan for life who to this day still gets a rush whenever I listen to these incredible and diverse performances."

"Wow! It's truly one of her all-time best recordings. Her voice is so powerful and beautiful. It's no wonder she created such a world-wide sensation back then. The calibre of music on this album is so much greater than anything you hear vocalists do now. Each one of the selections is a standout."

"Released as a sequel of sorts to her successful My Name Is Barbra album, you do not have to hear or even like that one to enjoy this one. In fact, truth be told, this is a far superior collection of songs."

"This album is wonderful. The target audience is one that is musically mature. The best part is the closing medley. Its brilliant, a vocal tour de force from Ms. Streisand."

Mann Made – MANFRED MANN****

Since I Don’t Have You/You’re For Me/Look Away/The Abominable Snowmann/Watch Your Step/Stormy Monday/I Really Do Believe/Hi-Lili Hi-Lo/The Way You Do The Things You Do/Bare Hugg/You Don’t Know Me/ LSD/I’ll Make It Up To You

Manfred Mann's second album Mann Made has fewer blues numbers than their debut, but still remains less pop orientated than their hit singles of the period. Front man Paul Jones would leave shortly afterwards. (UK:7)

"The group's second British album, released just as the original line up was entering a state of collapse, shows some changes as they moved away from blues as their baseline. Instead, they produced a sound that's slightly smoother and a lot more soulful. If it isn't as fierce, bold, or daringly ambitious as the debut. Mann Made is just as much a virtuoso effort, and a surprisingly cohesive one."

"Manfred Mann were one of the best R & B groups of that (or any other) time. Drawing heavily from the likes of Muddy Waters and Willie Dixon, they turned out track after track of well made blues. Many of their recordings have a distinct jazzy tinge, and a very British feel."

"Fronted by Paul Jones on vocals, this was a group so packed with musical talent that it could not fail, and indeed it did not."

"The tracks memorably showcase the voice of Paul Jones. Although he never had the raw edge of Steve Marriott or Rod Stewart in their prime, he's nevertheless an effective blues shouter with a clear, ringing tone."

"Manfred Mann were a group of musical individualists coming together in the studio. You can hear they had fun together and stretched out their musical ideas to create absolutely terrific music, popular masterpieces of blues, jazz, soul and beyond. This is representative of those creative days. You'll be amazed at the scope of musical details, of inventiveness and drive in solos and arrangements."

It Ain’t Me Babe – THE TURTLES***

Wanderin’ Kind/It Was A Very Good Year/Your Maw Said You Cried/Eve Of Destruction/Glitter & Gold/Let Me Be/Let The Cold Winds Blow/It Ain’t Me Babe/A Walk In The Sun/Last Laugh/Love Minus Zero/Like A Rolling Stone

It Ain’t Me Babe was the debut album from the Los Angeles pop group The Turtles. It is a mixture of covers and less than inspired originals with the title track a US No. 8 hit single. Fortunately their songwriting would improve. (US:98)

"In 1965 The Turtles had an almost Byrds style approach to their debut which they filled with some Dylan covers and a few originals. Unlike The Byrds however, The Turtles covers of Dylan are really lacking and bring down the album. The highest point of the album is the wonderfully written P.F. Sloan song Let Me Be. There is some songwriting promise on this record, but don't let me over state any of this. It is a very basic and primitive folk rock record leaving plenty to be desired.”

"Throughout their career The Turtles were a band with serious identity issues. It Ain't Me Babe represents their beginnings, aurally and conceptually miles away from their later hits. For in the beginning, The Turtles were a serious folk rock group. The result is an interesting stab in a direction the group would soon abandon. It Ain't Me Babe caries a strong set of material, the songwriting is embryonic, but is still fairly pleasant, although they do sound fairly mannered and anonymous on some cuts.”

“This was The Turtles first album; It Ain't Me Babe is a cover version of a Bob Dylan song, and the rest of the album is folk rock in that vein. There are two other Bob Dylan covers here, which are decent, if uninspired. There are four other folk rock covers, which are good efforts. There are four original songs, the songwriting would later improve, but these are good early efforts.”

“The Turtles' first album is very unlike the good-timin', sardonic approach of their later work. Here The Turtles go for more of a direct folk/protest rock approach. The album's title song was a big hit, but your enjoyment of this album is likely to be based on how much you like this genre.”

"They were obviously influenced by Bob Dylan and others and they cover folk songs like Glitter & Gold and make them electric and poppy even.”

In The Midnight Hour – WILSON PICKETT***

In The Midnight Hour/Teardrops Will Fall/Take A Little Love/For Better Or Worse/I Found A Love/That’s A Man’s Way/I’m Gonna Cry/Don’t Fight It/Take This Love I’ve Got/Come Home Baby/I’m Not Tired/Let’s Kiss & Make Up

Wilson Pickett was one of the major soul artists of the mid 1960s. His debut LP In The Midnight Hour includes several older singles plus the classic title track and UK No. 12 hit single. (US:107)

“Originally released in 1965, Wilson Pickett's first album is mainly a compilation of various singles and B-sides dating as far back as 1961. Here the wicked Pickett belts out greasy R & B with The Falcons and duets with Cissy Houston. He also tries his hand at a bit of Motown-style stomping on I'm Gonna Cry and lets a touch of gospel creep into For Better Or Worse. While it may lack a little in the way of cohesiveness, In The Midnight Hour is still an exciting tour through the first phases of his career.”

“I love this album. Half of the material documents his brief affair with Stax Records and its legendary house band Booker T. & The MG's. This is the team responsible for countless classics. Here, they add to their legacy by co-authoring with Pickett yet another soul staple, In The Midnight Hour. The remaining half showcases the artist before the fame and professionalism - the raw and formative years, if you will. All of the songs on the album are well crafted and the performances inspired. Throughout both phases of this collection, Pickett's patented scream and fierce delivery are in full formation. A must have for any fan of 60s Memphis soul.”

“His first album was a bit of a hodgepodge, including singles from as far back as 1962. Three of these tracks were actually issued as singles by The Falcons (for whom Pickett sang lead) before he started his solo career; others were issued as singles before he broke through as a national star. Working with several collaborators, Pickett himself wrote most of the tunes on this album. The record also featured the first recordings he made with the Stax rhythm section in Memphis - a combination that would yield much fine soul music throughout the rest of the '60s.”

“An all-time soul classic, In The Midnight Hour boasts a loping bass line, punchy horn charts and fiery vocals. This is raw era Wilson Pickett, and you get the Stax flavour that truly cooks with Wilson's own brand of gut bucket soul. Before he got polished you get the rawness of him here."