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.”