Amazon.com essential recording

Barbra Streisand seemed an "overnight" superstar when she released this debutLP in 1963; two weeks after its release, Streisand was America's best-selling femalesinger. Within several months, Funny Girl would debut onBroadway... and the rest, as they say, is history. The truth, however, is that Streisand wasalready a singing sensation in Greenwich Village clubs like Bon Soir and the Blue Angel.Most of the material on this Grammy winner (for Album of the Year) comes from thatclub act--part of her deal with Columbia was total control over song choices--and itreveals a singer who wasn't about to kowtow to the rock & roll craze; instead, the earlyStreisand concentrated on standards... and, well, just about anything. The selections rangefrom "A Taste of Honey" to the beautiful "Soon It's Gonna Rain" from The Fantasticks to a song fromDisney's Three Little Pigs. It took guts to open with "Cry Me a River," a songalready owned by another torch singer(Julie London)--but if the LP proved anything, it was that thisBrooklyn gal sure could sing, a fact driven home by her mournful-yet-glorious take on"Happy Days Are Here Again," which soon became a pop standard classic recording ofits own. --Bill Holdship ... Read more

Reviews (16)

Nightclub Barbra
I love this album as Barbra's "first" - well big first with Columbia, anyway, though I adore the songs on her Third Album more - they convey the absolute musicality of her voice.

As the reviewer below said, this was meant to be a live album, and was recorded (minus about 3 songs including Big Bad Wolf) at the Bon Soir. However, for whatever reason, the recording wasn't deemed good enough. Happily, at least some of that Bon Soir recording IS available - on the 1992 release ' Highlights from barbra Streisand: Just For The Record", including my two very favourites: Cry me A River and A Sleepin' Bee.

Amazing debut
Nothing here needs to be said about Barbra's voice everyone knows its one of the most astounding instruments in the world. Whats unique about this CD is that a: its her debut and b: its one of the few times in her career when Barbra didnt attempt to micromanage every aspect of the recording process. As she would later do with Guilty, Barbra simply sings the songs and allows the music to work with her instead of dominating the music. Its thrilling and refreshing all at once. There are a few kooky cuts like Peking, and Wolf, but even those are merely part of the Streisand mystique. Besides her absolutely melting versions of songs like "soon its gonna rain" and "sleepin bee" more than forgive a little kookiness here and there. this album is a piece of musical history not to be ignored

A nice beginning!
Barbra Streisand, Frank Sinatra, & Ella Fitzgerald have probably done the most for the Great Amercian Songbook. The music I adore! Everyone who loves the songbook knows about this album! I remember the excitement this out of the ordinary debut caused. For the most part the songs are top drawer! Only MUCH MORE appeared to be pretentious! What am I getting at? Was this album as good as everyone said? While I overall liked it, I feel there were faults. Babs strained her youthful voice a bit too much for the high & low notes. Yet, her sense of humor can't be surpassed! Examples are WHO'S AFRAIS OF THE BIG BAD WOLF & COME TO THE SUPERMARKET IN OLD PEIKING. Both will make one smirk & that's not an easy task on a cd. The real beauty of this album is that Streisand did do a superlative job on mainly unknown songs. I'm just being too picky. I think that no superstar can be as great as their hype. In this case, Babs may be the exception. But, if she could have only hit those superlative high note like Eydie Gorme, Jane Morgan or Shirley Bassey. Then, what an album!

MUCH more indeed!
If you own the box-set and think you've heard much of this material elsewhere, look again because there are some hidden gems on this Streisand outing that are lovely to hear: "Much More", "A Taste Of Honey", "Soon it's Gonna Rain", and the frisky, comical "Come to the Supermarket in Old Peking" still sound fresh, even today. Songs that haven't been overexposed and will be a welcome addition to a Streisand-fan's world. Her debut album, and man she does set the melodrama-meter on high! Crazy romance and self-effacing nuttiness combine to make this a slick, memorable package.

Stellar debut
I find it sad, reading the reviews on line of Barbra's albums that many of her fans find it necessary to divide themselves into camps: "60's Barbra fans" "Pop Barbra" "Rock Barbra" etc. I can listen to this and then jump to The Broadway Album (not a huge leap), spin some tracks off Emotion or Till I Loved You or Guilty. The voice is the thing with Streisand. This insane voice, which at this early stage was so powerful and pure, with that magnificent Broadway soprano on top. People complain of this album at the whimsical "Who's afraid of the Big Bad Wolf?" but what I think this shows - along with Come to the Supermaket and Adelaid's Lament off The Broadway Album is that Barbra is the finest ever (bar none) singer of comedy songs. That she pulls off the juxtaposition with the melting "A Sleeping Bee" and "Soon It's Gonna Rain" and the tortured "Cry Me A River" is testament to her artistry. Truly a fully formed singing actress at the age of 20. Breathtaking. The last in the royal line of great singers of the 20th Century - Frank Sinatra, Ella Fitzgerald, Billie Holiday, Bing Crosby, Doris Day, Dean Martin (yes, I do include him on this list - just listen to his SLEEP WARM album!), Sarah Vaughan, Tony Bennett, and a few others from before but none since Barbra can seriously be added to the list. ... Read more

Reviews (5)

The music of Johnny Mathis A personal collection
I just received this four cd set and I love it.It has all of Johnnys popular songs on it but I ordered it for some of the hard to find songs he did.This has some songs on it thats not on any other cd but this one.Don't Blame Me is one of those songs that isn't out no more except on this cd.He does such a good job on it and it is backed with orchestra.Live for Life is another rare treat.The original booklet is included in this set with 94 pages of info on Mathis.This cd box set has dropped from $... If you are a Johnny Mathis fan you should get this one.

A Superlative Collection by a Master......
Is there another traditional vocalist who can move so easily among genres than Mathis (not to mention maintain such vocal quality after some 40 years plus in the business)? From classic ballads to R&B to Broadway, this generous, shy, unassuming and brilliant singer can cover just about anything. I actually didn't even know much about Mathis until the late 70s when I saw him on The Tonight Show, where he sang Boz Scaggs' "We're All Alone" (included in this 4 disc set) and was blown away by his control, especially when he held the final note nearly as long as the next commercial break. From then on, I was hooked. There are so many highlights here -- especially the move and groove years of "I'm Coming Home" and other Thom Bell produced pieces, and the most perfect blending of two voices ever: Mathis' duet with his vocal soulmate, Jane Olivor. But if there is a centerpiece in Mathis' oeuvre, it is the breathtaking, emotionally heartbreaking "Yellow Roses on Her Gown" -- both the song itself and Mathis' performance create one of the finest recordings ever made. And you have to buy this box set (with wonderfully detailed liner notes) to get it on CD. Highest recommendation for vocal fans.

Mathis Magic
How could you give any Johnny Mathis compilation anything less than 5 stars? You can't! This is an excellent musical history of the greatest male vocalist recorded music has ever known. Finally, on CD, are his passionate versions of One Day In Your Life and Let Me Be The One. However, I would have liked to have seen included more magical Mathis music from the 1970s such as his earlier version of Windmills of Your Mind, Stardust and I Only Have Eyes For You. Of course, there is so much wonderful, wonderful Mathis music that either there could have been two or three more discs or a second box set altogether. I question Columbia's decision not to have more of Mathis' LPs available on compact disc, especially those from the Seventies. For instance, he had tremendous albums in the 1970s I would love on compact disc such as Killing Me Softly With Her Song, When Will I See You Again, Close To You, Romeo And Juliet, Feelings, Hold Me Kiss Me Thrill Me and the list goes on. Chances are that maybe Columbia will one day release all of his music on CD or at least put together a 1970s package which should include all the above mentioned songs. In a world gone crazy with rapping and screaming, its so nice to still have Mathis music be a glimmer of light and hope in the darkness.

Outstanding ! ---- A Musical Journey
Seem to be a few feelings about "Feelings" here.------------ I think this is a MUST for every dedicated Johnny Mathis fan, or for anyone who enjoys a gentle evening of good music. The selections begin in the 50's and build chronologically right through the 90's----truly a historical tracking of Johnny Mathis' career. Very nostalgic for those of us who aren't 20 any longer. A favorite winter evening at our house is a warm fire, a glass of wine and "The Music of Johnny".

This is the Best of the so-called "Boxed Sets"
Disc 3 is my personal favorite, with Disc 2 a close second.

This is the set called the "Personal Collection" because of Johnny's personally selecting every song on here, and he comments on every song he's picked in the accompanying booklet, which is a joy to read.

And I agree, I don't know why "Feelings" is on here, either! ... Read more

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Calypso King Harry Belafonte will always be known for his smooth voice and island-infused music. All Time Greatest Hits, Vol. I would not be complete without Belafonte's signature piece, the tropical work song "Day O." Its lasting appeal has probably been because of its place in music history as a cultural reference point, but it is also a wonderful showcase for the control Belafonte had over his instrument. Just try mimicking his note-perfect run of "He say day, he say day, he say day o-o-o" and you'll get the point. All Time Greatest Hits, Vol. I also has standards like "Michael, Row the Boat Ashore" and "Abraham, Martin, and John." And, of course, the wonderfully playful "Cocoanut Woman" is here in all its exotic charm. --Steve Gdula ... Read more

Reviews (4)

A Super Singer
I still remember the Carnegie Hall performance by Harry Belafonte. It was an excellent recording. This Vol 1 greatest package is very very good. 'Dayo' and 'Island in the Sun' are of course included. If you only want one Belafonte recording, make it this one.

wonderful
A great selection of Belafonte's music, showing his ability to sing everything from touching ballads (Scarlet Ribbons) to Calypso (Mama Look a Boo Boo) to American traditional (John Henry). He has a great voice and can convey an astonishing range of emotions, from humor to pathos. And it is all capped by one of the great songs of all time Jamaica Farewell. Very good sound quality too.

great calypso music!
i loved all the songs in this cd especially day-o and cocoanut woman. jamaican farewell is a song we used to sing as children and it has brought back sweet memories. anyone who has heard these songs once is not likely to forget it ever!

Good listening
Calypso music is wonderfully uplifting, and Belafonte is the King of Calypso.

I must confess, though, that I find Day-O to be pretty annoying. Especially that "6 foot, 7 foot, 8 foot BUNCH!" line. ... Read more

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She's been eclipsed by a generation of newfangled power divas, but Babs still has it--superior repertoire in the Tin Pan Alley tradition, deep-pile production from the likes of Foster, Mardin and Afanasieff, and those zillion dollar pipes. Cuddlesome James Brolin gets a credit "for giving me the love I sing about" on tunes like "Leading with Your Heart," while the title track, "At the Same Time," and "Everything Must Change" could one day be used in a Broadway musical about pre-millennial spirituality.--Jeff Bateman ... Read more

Reviews (67)

Stirring Collection
Barbra Streisand shines on this album of inspirational and gospel songs, HIGHER GROUND. There is nothing quite like hearing Barbra singing with a full gospel choir, accompanied by a full piece orchestra. The songs are so beautiful and uplifting, its the perfect companion to any mood where you need to feel inspired.

The album opens on a high note with her rendition of "I Believe", which halfway through the song turns over to "You'll Never Walk Alone", a stirring medley to get this album started on a fresh note. The title track follows in the same vein, a soaring ballad accompanied by a full choir. "At The Same Time" is one of my favorites, with its universal tale of acceptance and understanding, which is both inspiring and dignified.

The duet with Celine Dion is excellent as well, where the younger woman (Celine) asks for advice from the more wise woman (Barbra) about affairs of the heart. Vocally these two endure each other and both come out on top as winners. Other stirring songs that are definate highlights include the gospel song "On Holy Ground", "Circle", "Leading With Your Heart" and "Lessons To Be Learned".

With HIGHER GROUND Streisand proviedes some of her most vocally enduring work, and she is definately up to par on the challenge. These songs will inspire you and touch you in so many ways, this is clearly one of her best moments musically.

Don't judge this album (unfavorably) too quickly...
I must confess that, upon first listening to this album, I was disappointed. Repeated listening, however, has moved me in the other direction and it is quickly becoming a favorite disk for the CD player. "Higher Ground" (the title track) is lovely and sweet, as is "On Holy Ground," which belts into some fantastic gospel-style work. Streisand displays her facile vocal talent throughout, but is particularly fine on these two numbers. The 9th, 10th, and 11th tracks ("Leading with Your Heart," "Lessons to Be Learned," and "Everything Must Change") are fantastic and could be played as a medley of loving lessons, although the final piece is a little depressing (to a point) -- mostly this is due to the "minor" tonality of it. "Avinu Malkeinu" makes me hope to see more Hebraic music on future albums. It is beautifully sung and fantastically performed by chorus and orchestra. A very fitting finale to this highly spiritual album.

I'd give it 100 stars, If I could...
Why?, simply because this is one of her best albums.
It's relly inspiring and lovely, all the songs are worth listening. Can't believe someone said it's boring, com'on what are you thinking of, hello! this is Ms Streisand at her best.
If you don't like her singing I understand but you don't have to shout it out!!!
I would like some Streisand fans to write to me, please I don't have full Internet conexion, so I'm not able to talk to fans all from over the world, this is my call...

igco.grm@infomed.sld.cu

Higher Ground
This beautiful cd came out in 1998 just the time my wonderful husband of 20 years was dying of kidney cancer. I PLAYED IT NIGHT AND DAY. It gave me solace and strength during the last 7 months of his life. Now I am dying of colon cancer and it is doing the same again for me. Every afternoon I take my morphine and lie back in my chair and fall asleep listening to this beautiful music. I played this at my husands memorial and it is my wish to have it played at mine. Thank you BARBARA!

Carol from Crestline Ca.

More than 5 stars "if I could"
When this cd came out it was like an answer to a prayer evoking so much emotion from every lovely song. I played it over and over and over and it always sounded so fresh and inspired me every time. Made me cry, made me feel strong, made me unafraid. I still think this one is her very best. She soars through every lovely note and commits to every word she sings.

"I Believe/You'll Never Walk Alone" I love her combination songs and this one is just spectacular. The orchestration is so moving.
"Higher Ground" honestly inspires me to want to be more than I am! Powerful stuff.
"At The Same Time" and "Circle" have background choral vocals that are chillingly beautiful.
"Tell Him" - a little gratuitous and out of place on this album but just stand-on-it's-own amazing. These two voices, such a lovely melody - hers with Celine Dion - gave me m&m sized goosebumps!!
"On Holy Ground" is my favorite track and if I could hear it in church I'd be there all the time.
"If I Could" is for anyone who has children - this spoke to me as a mother like very few songs ever have.
"Avinu Malkeinu" was a wonderful surprise for me. ... Read more

Album Details

Out of Print in the USA as of 5/4/99. 1962 Release of 11 Songs by British Composers Recorded in Britain. Includes "The Very Thought of You", "we'll Meet Again"& More. ... Read more

Reviews (8)

COMMAND PERFORMANCE
This long fabled collection of tunes from "across the pond" by Francis Albert Sinatra is definitely a point of interest along the road of collecting important works by one of the world's greatest singers. Much has been written about Sinatra's vocal condition being under par during the undertakings presented here. The astute Sinatra fan will remark that he sounds thin here and there, or he cuts off notes when he normally wouldn't; but it actually works in his favor on most of these songs, which are required to be sung with a tone of wistfulness and longing. Special mention must first be made, when reviewing this album, to the exquisite backings charted by one of Britain's favorite musical brainchildren, Robert Farnon (whose work with Tony Bennett years after this album merits some of that "other" Italian crooner's absolute finest) Nelson Riddle lent a minimal helping hand with chords and note changes, but this was all Farnon and Sinatra, the one and only time these two geniuses ever got together. All the stories are true; the piano really did break down that first night, and they went with the celeste, and it came off without a hitch. Yes, Frank did want to dump ROSES OF PICARDY, dreamily sad as it seems here; (Bobby Darin would team up with Billy May and give this one a great swing later on) Happily for us, ROSES OF PICARDY has been restored here. Everything you've heard about this album is true, except if you believe the story that this originally UK-only released gem finds Sinatra straining to get through the works. Just listen to the subdued intensity in his heartbreak version of NOW IS THE HOUR. A touching performance, as is the other great anthem of so-longs-ville, WE'LL MEET AGAIN. Believe it or not, the prettily-titled WE'LL GATHER LILACS IN THE SPRING comes off very well with Sinatra setting the scene along the lane beautifully, abetted by what I consider the finest chart written for this album by Robert Farnon. The slyness incorporated in both arrangement and vocal on the classic IF I HAD YOU is not to be missed, complete with referential brass section tipping their 'darby' to Nelson Riddle in that tight, sweet sound. Noel Coward's I'LL FOLLOW MY SECRET HEART is a fantastic closer on this very pertinent set, and differs greatly from the version Sinatra laid down with Axel Stordahl on the classic "Point Of No Return" package for Capitol in 1960. The soaring strings at the end of the chart show Farnon's exuberance once again, as if to remind us of just how wonderful each of the charts were in this album. You'll thoroughly enjoy this album.

EMOTION RECOLLECTED IN TRANQUILITY
All the world's great arrangers---most of whom got to work with Frank Sinatra (the rest wish they had)---are (or were) American. With one exception: Canadian-born Robert Farnon. At last report, Bob was still alive and well, and living at "La Falaise" on the Channel Island of Guernsey (a letter with only that address can reach him). Now 85, he still makes the occasional foray into London to do what he's always done best.

Andre Previn, told the late, great lyricist Johnny Mercer that "Robert Farnon is the greatest living string arranger in the world." The great ones who admit to Farnon's influence have included Nelson Riddle, Don Costa, Quincy Jones, Neil Hefti, Torrie Zito and Johnny Mandel (just to name the best who worked with Frank Sinatra), plus, (among those who didn't, but wished they had) Henry Mancini, Roger Kellaway, and John ("Star Wars") Williams.

Great popular singers who share that opinion, include Sarah Vaughn and Tony Bennett. The list of musicians who feel the same way is too long, but start with pianists Herbie Hancock, Oscar Peterson and George Shearing.

Sinatra's voice on "Great Songs from Great Britain" may be functioning at only 80 per cent (my estimate) but it's still better than on some of his some later recordings, and no worse than on his roughest days at Capitol in the 50s. Listen again to the Billy May "Come Fly With Me" CD and the lone Nelson Riddle arranged song Cole Porter's "I Love Paris. "Sure, it's "rough" (was Frank up all night?) but still, you love it, right? Same with this CD: Precisely because he's the greatest interpreter of popular song, Sinatra makes adjustments to his delivery, transforming weaknesses into strengths before your very ears. Fascinating!

So why wasn't this album released in America prior to year 2000? Having read all speculations here and elsewhere, I think the critics are simply uninformed. Because the singer has left true fans some 'between-the-lines' clues to how much he loved these recordings.

Let's begin with the speculation that Sinatra had 'second thoughts' about what his American fans might make of the material----obscure, almost quaint, English songs, some dating to the First World War, which have Sinatra "gathering lilacs" or keeping a stiff upper lip "until we meet again" i.e. songs that might not survive a trans-Atlantic crossing, let alone achieve posterity.

Well that ignores some important facts: Sinatra selected all these songs himself, in advance of his world tour (30 stops, the last in London, in aid of children's charities). Don Costa---Farnon's biggest booster in America (and the most heavily-influenced of his protégés) invested a lot of time, as Sinatra's 'middle man,' cabling between LA and Farnon's island home, to ensure this recording 'happened.' (In the end, Costa couldn't be there; but Nelson Riddle made it to one session at London's "CTS Bayswater" studios).

The singer's only objection was uttered as he sipped some "JD" and listened to the playback of "Roses of Picardy" (now considered by some critics to be the loveliest 'rose' of the bunch). Sinatra said: "Scrub 'Roses of Picardy'---I don't like it" (meaning, he didn't feel he'd done it justice). So "Roses" was not included on the original LP, released only in Britain).

The suggestion that Sinatra was in any way "embarrassed" by these recordings, is belied by his personal selection of "If I Had You" for inclusion among his 19, all-time favorite recordings, preserved on the 1996 compilation "Everything Happens to Me" (please see my review for that one). The singer himself approved the inclusion of two others, "Garden in the Rain" and "A Nightingale Sang in Berkeley Square" for the 4-CD Reprise box set. And the latest Sinatra compilations ("Romance" and "Love Songs") include this version of Ray Noble's classic, "The Very Thought of You."

Enjoy great liner notes? There's none better written for any Sinatra release: You get literate musician Benny Green's original, 1962 notes, plus American James Isaacs' superb, 1992 supplements, closing with thoughts about Sinatra's achievement on "If I Had You."

"If Sinatra's wistful, daydreamy first (take) in 1947 was truly in the subjunctive (IF I had you,) and if his cocky medium-bounce Riddle-arranged '56 take might be dubbed "I can have you," then this rendering, with its brandy-by-the-fireside feel and older-but-wiser protagonist, is more like "If I'd HAD you." Notwithstanding a lyric that's far more Tin Pan Alley than Tintern Abbey, Sinatra's (and Farnon's) conception is, to borrow from Wordsworth, "emotion recollected in tranquility."

Obscure but surprisingly moving
When I bought a used copy of 'Great Songs from Great Britain', I had low expectations. Several writers had noted that Sinatra's voice was spent by the time he joined Robert Farnon in London to record the present set, and how the spare string arrangements had left the singer 'nowhere to hide.' Had Sinatra been about to record 'Come Fly with Me', the result no doubt would have been a disaster. But for these contemplative, romantic ballads, a thinner Sinatra voice works perfectly.

The dramatic acappella opening to 'The Very Thought of You' states the theme -- stately and romantic -- British, basically (!) The middle of the album, 'Gypsy', 'Roses of Picardy' and 'Nightingale', comprises some of the more heartfelt material from Sinatra's early Reprise era. The vulnerability in the usually powerful voice could not have shown up in a more fortunate group of songs.

I also question whether Sinatra was truly on his last legs. 'Garden in the Rain' displays the same remarkable breath control that enabled him to sustain long notes in a way that made his phrasing so natural. Sinatra may not have been at his vocal peak -- or anywhere near it -- but every time I listen to 'Great Songs from Great Britain' I'm left with the sense that Sinatra at 40 percent was like other singers at 80 percent.

Among the Reprise albums, I would highly recommend this one. The material is right up Sinatra's alley (tasteful, and of lasting value) and Farnon's arrangements seem more akin to Nelson Riddle's than to Gordon Jenkins' sometimes-too-heavy strings. All brilliant, but Farnon never lays the violins on too thick.

Why this album has not been remastered and re-released eludes me. Sound quality is fine for 1962, however, and interested listeners would be well served to find a used copy in the meantime. Sinatra was dissatisfied with these recordings when he made them, and reportedly never released them in the United States. Considering the availability of far lesser albums, it is high time to bring 'Great Songs from Great Britain' back to market (if you're reading this, Reprise...)

A beautiful album
This album ranks up with SINATRA AND STRINGS. Yes, Frank is a bit tired but it does not disturb the singing or dramatic effect in any way. Heck, I'll listen to this one over DUETS any day!

Farnon's charts are superb - he could make strings "sing." This is an easy to listen to album but not an easy listening album. There is plenty of feeling in the singing and the arrangement support it.

If you can't find it here, search the web..

Memories of Memories
This is with out a doubt one of Franks all times best recordings. I first listened to these recordings ln 98 and I have borrowed my friends copy to play it over and over. I can not locate this CD in any store. If any one knows where I can get one please advise. The songs and the voice remind me of a time in my life that has wonderful memories. ... Read more

Reviews (11)

What you see is what you get!
Only buy this compact disc if you really want the songs and the collection makes sense to you after reading the list of titles. There is nothing special here. The masters are litereally "off-the-shelf" and all but a very few are repeats from other compilations including the mistakes! Como fans will have virtually all of these songs and for new Como fans, the suggestion that these are his "Greatest Hits" is clearly a misrepresentation having only three songs here from the last 40 years! Even as an early collection of Perry's first 15 years with RCA Victor, the set is certainly not definitive. These new kids at BMG should take time out to meet Perry Como and then, perhaps, they would treat his recorded legacy with a little more respect!

still searching for perry's rendition of kol nidre
wonderful songs from a wonderful singer---i am searching for perry's rendition of kol nidre

Surely the most complete Perry Como collection to date!!!!!
No matter how you slice it Perry Como is one of the Top dozen American recording artists of the twentieth century. His appeal was broad and his impact undeniable. From the early 1940's until his final charted hit in the mid 1970's, Perry Como left a legacy of hit recordings that are fondly remembered by generations of Americans. All in all, Perry Como had an astounding 131 charted singles! The genial ex-barber from Canonsburg, Pa. had a total of a dozen #1 hits. And during the 50's and 60's, Como managed to crack the Billboard album chart a total of 26 times. Strange as it might seem, RCA Victor, the only label he ever recorded for never bothered to produce an anthology worthy of this fabulous performer. "Greatest Hits", released in 1999, is in my opinion the first collection to do the man justice. Containing a total of 51 tunes, the collection spans the artists entire career. In all fairness to RCA, it is a monumental undertaking to produce a comprehensive collection for such a prolific artist. But RCA succeeds here. Some of his earliest hits are here including the marvelous "If I Loved You" and the classic "Till The End of Time". "Far Away Places", "Some Enchanted Evening" and "Hot Diggity" are just three of my favorites from the 1950s. The two disc set also includes a pair of big hits from the early 1970's "It's Impossible" and "And I Love Her So." I was disappointed that the bouncy "Seattle" was not included. The remastering job is first rate and RCA has included an informative 16 page booklet. You will not be disappointed with this one. The price is quite reasonable for a two disc compilation this well done. So if you are in the market for a Perry Como collection look no further....this is definitely the one you want.

Slowly We're Getting ALL His Hits
I can well understand the frustration of the reviewer who assigned just one star to this volume. It IS extremely difficult to gather together CD versions of all the hits of this accomplished crooner who started out on his long career way back in 1933 with the Freddy Carlone band. When he went solo in 1943 he certainly demonstrated his staying power with something in excess of 150 hit singles up to 1983 [the last eight on the Adult Contemporary charts].

In my reviews of other Perry Como material I describe several as absolutely essential for any devoted fan of the man known as Mr. Relaxation during the days of his highly successful run of TV shows. These are: Yesterday & Today - A Celebration In Song [a magnificent 3-CD box set with 71 tracks]; The Long Lost Hits Of Perry Como [25 tracks]; The Ultimate Collection - 2 CDs and 48 tracks; and Perry Como With The Fontane Sisters [14 tracks].

Now you can add this one and its 51 tracks which, in spite of the very legitimate gripe of that other reviewer, is very much a 5-star compilation as a stand-alone CD, not only for the contents, which range from 1945 to 1973, but also the seven pages of liner notes written by Jospeh F. Laredo.

Yes, most of the selections have been released on countless other CDs, including the ones I mention above, but there are several here that are not all that easy to find in quality CD format. These are: the doubled-sided 1946 hit You Won't Be Satisfied (Until You Break My Heart) b/w I'm Always Chasing Rainbows; Let's Take An Old-Fashioned Walk from 1949; and The Things I Didn't Do from 1954 with The Fontane Sisters and NOT included in the above-mentioned CD.

But still, as a long-time Perry Como fan, I can sympathize with that disgruntled reviewer who, like me, is probably still searching about for CD versions of: I Cross My Fingers - # 25 in 1950 with the Fontanes; The Rose Tatoo - the flip of All At Once You Love Her in 1955 and a # 79 on its own; Moonlight Love - # 42 in 1956 and its B-side, Chincherinchee [# 59]; My Little Baby - the flip of The Girl With The Golden Braids and a # 48 on its own; Dancin' - # 76 in 1957; Dance Only With Me - the B-side to Kewpie Doll and # 19 on its own; I Know What God Is - the flip of Delaware and # 81; Make Someone Happy - # 80 in 1960; Oowee, Oowee - # 88 in 1965; and Stop! And Think It Over - # 92 in 1967. This and then other CDs I mention total 209 tracks, many of them repeated several times, and none of these are included.

If this is a tantalizing game being played by the folks at BMG/ RCA it is NOT appreciated.

Beautiful man, beautiful voice
It's too bad that most people under forty don't even know who Perry Como is and few have ever been exposed to his music. This album will introduce to some marvelous music, sung by the inimitable Perry Como. As a fan of Perry, Sinatra and Bing Crosby, comparisons to their voices is inevitable. Perry modeled himself closely after Bing and the influence clearly shows. His voice wasn't as deep and his range wasn't as great, but his voice was more mellifluous and mellow, particularly as he aged.

All of Perry's great 40's and 50's hits are included here, as well as two stellar songs from the 70's, "And I Love You So" (my personal favorite) and "It's Impossible." Como injected so much pathos and emotion in both these songs. He learned how to use his vocal instrument more effectively as he got older. My only regret is the omission of Perry's last great song, "Wing Beneath my Wings," one of the great swan songs in American music.

Perry Como's music is timeless and anyone of any age can enjoy it. No one else sang quite like him with that beautifully restrained, sweet, gentle style. I've seen Perry in concert several times and he was a beautiful man, inside and out. His voice mirrors his soul and this is a superb collection. ... Read more

Reviews (8)

The wonder is right here!
A soundtrack of sorts to the Emmy Award-winning television special of the same name, the Grammy Award-winning MY NAME IS BARBRA became another Gold-selling smash for the then-unstoppable phenomenon known as Barbra Streisand. This album hit #2 on Billboard's Hot 200 and it contains all of the new songs featured in the show, as well as some new recordings to replace the songs that had already appeared on her pervious records. A semi-concept record; the first portion is devoted to songs about the child in all of us ("I'm Five," "Sweet Zoo"), next some songs about the transition from child to adult ("Jenny Rebecca," "Where Is The Wonder"), and finally, songs from an adult perspective ("I Can See It," "Why Did I Choose You?"). Throughout the course of this cycle, Barbra gives beautiful renditions of "My Pa" (which is the song "My Love" from The Yearling with different lyrics), as well as the definite versions of "Someone To Watch Over Me" and "My Man." A fantastic complement to a spectacular show.

Amazing Barbra becomes a child again
Here is the reason why Barbra Streisand is a great singer and compleat artist of the first magnitude. Streisand shows off her understanding of singing and acting at the same time. Singing funny childish songs like 'A Kid Again/I'm Five' or dramtic tributes to parenthood like 'My Pa', Streisand captivates the listener with her vocal characterization of her childish ideals. At the same time, Streisand shows off brilliant singing of great classics like 'Where Is The Wonder', 'I Can See It (from the Fantasticks)' and a great treatment of the Gershwin song, Someone To Watch Over Me. She tells the world that she is the greatest star that they have ever seen in this early CD.

My Name Is Barbara
A great mix of older , fun , music by Streisand in her early years.

CLASSY, CLASSIC
Displaying that ingenuity for finding insanely perfect material for her exploding talent, Barbra nails down this album but good. Full of surprising material that sounds instantly classic in her rangy, pure, strident soprano, this album stands the test of time. Jenny Rebecca is pure joy; My Pa and Kid Again are exuberant and moving girl-growing-up songs; I Can See It, the classic Fantasticks song, here sounds like it is trumpeting Streisand's career with unbridled enthusiasm. For a visual interpretation of this material, check out the TV special by the same name -- you will be blown away by the creativity and sheer bravura skill of this young powerhouse.

Standout
I really adore all of Barbra's work in the 60's and "My Name Is Barbra" is a standout. This is more or less a soundtrack to Barbra's phenomenal first television special in 1965 and ranks among her best work. After singing on Broadway in "Funny Girl" every night, Barbra's tonsils were in great shape and she was doing some of her finest work. The version of "Why Did I Choose You" on this CD is an extended version which did not appear on the LP. "My Man" brings the album to a dramatic conclusion and is one of Barbra's all-time greates performances. As always, Peter Matz's arrangemnets are flawless. The new remastered CD sounds great. ... Read more

Reviews (3)

FINALLY!
It took forever for this soundtrack to come out on CD. WHY? It's one of the best around, EVER. Next to Beethoven's 9th, The Five Penny Saints is one of the BEST things ever written. Just my humble opinion... DON'T miss it! Now, if we could just the rest of Danny's movies out on DVD, we'd be set!

My cd collection is now complete!
It's here, it's here! I was in the record store, browsing...had earphones on and ....there it was right in front of me the holy grail of cd's - the five pennies soundtrack! I almost did not go to the movie I went to see so I could listen to it..but I waited and did and it is as wonderful as when I heard it on vinyl. Get this, hear Louis Armstrong at his best, some great Dixieland Jazz...enjoy!

The Five Pennies
Thank you Decca Records for the CD release of this great soundtrack. I have been waiting for 20 years,the record has been unavailable for years. I Give this CD 5 stars plus, if you are in to 1930'jazz this record is for you. Danny Kaye and Louis Armstrong are great the music is well recorded [1959]. I Hope a DVD is issued in the near future. ... Read more

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Like Bing Crosby's "White Christmas," Nat Cole's "The Christmas Song" stands as one of two or three pillars of holiday music. This collection of songs and greetings includes another technologically induced daughter-father duet on Mel Torme's classic hit as well daddy Cole's 1961 version of the tune. Fans of both Natalie and her dad will put this on the top of their wish lists. Two previously unreleased tracks--"God Rest Ye Merry Gentleman" and "O Come All Ye Faithful"--will prompt a lot of lovers of Christmas music to fall in love again with Cole's incomparable style and timeless voice. --Martin Keller ... Read more

Reviews (27)

The Best Christmas Album Ever Recorded
Nat King Cole could not record a bad Christmas had he set out to do so.

Known for his recording of "The Christmas Song," Cole sings every other Christmas song just as well as he does that classic. Particulary good are "Cradle in Bethlehem" -- which has an outstanding choral support, "O Little Town of Bethlehem", and "O Tannenbaum." There are only two other Christmas albums that rise to the level of "The Christmas Song": Johnny Mathis' "Merry Christmas" and Alan Jackson's 2002 release: "Let It Be Christmas."

Nat's album gets the nod because he has far more songs (19) on his album than either Mathis or Jackson.

But that's your top three of all-time folks. Sinatra, Crosby, Como, The Carpenters ... all are good, but never really approach Nat King Cole's album when one considers the quality and quantity of the songs on that album.

It's really striking how good it is. And how long is has stood the test of time. He had a voice made for Christmas.

The Christmas song-Nat King Cole Review
By far one of the best albums by Mr.Cole.I highly recommend anyone who likes Nat King Cole to buy this album.I would like to correct a mistake by a previous reviewer who said the album has previously unreleased tracks.All tracks on this cd(with the exception of the duet of Nat and Natalie)were released in 1969 on the LP'The Christmas song'released by Capitol records.

Almost perfect...
At the risk of restating the obvious, let it be said once more -- Nat "King" Cole has a magical voice, adaptable to the ruminations of a Jazz trio, the brassy sass of a Big Band or the celestial delights of a string orchestra. THE CHRISTMAS SONG -- Capitol's CD reissue of Cole's 1961 arrangements (conducted by Ralph Carmichael) -- features the singer's warm baritone set to orchestra and chorus. For all intents-and-purposes, the songs themselves are a stunning listen -- diciplined, personal and romantic.

This reissue features the standard 1961 version of Cole's timeless "The Christmas Story" (written by Mel Torme and Bob Wells); Cole did three other versions prior to the Carmichael take, going as far back as 1946 (the first without a string section). These three versions have not been the reissue standard since '61. However, two other renderings are represented on this CD: [1] another stale cut-n-paste duet with daughter Natelie (MOR radio has Hallmark to thank) and [2] a hidden bonus version, more piano-based, featuring only a small string section (likely the second 1946 version, which was the first "Christmas Song" to chart). In other good news, there's also first-to-CD versions of "God Rest Ye Merry Gentlemen" and "O' Come All Ye Faithful" (the latter of which is worth the price of admission alone), plus two King Cole spoken greetings.

My feeling is that no serious music collection should be without a compilation of Nat "King" Cole's Holiday classic. I'm biased, of course, because Cole is my favorite singer, but the music stands on it own as timeless. There are many Christmas-themed CDs available from this artist, but this is as good as any, if not the top so far.

A 'Must Have' for the holidays!
There are dozens and dozens of holiday CDs available. Each year dozens more are recorded or re-released. This CD ranks in the top five ALL TIME greatest holdiay offerings. I bring this one out in November every year. It IS Christmas!

A CHRISTMAS CD FOR THE AGES
If you only want one CHRISTMAS cd in your collection,you simply must choose this one.NAT and CHRISTMAS are linked together.This cd was beautifully remastered in 1999 and will pass the test of time forever.You may have listened to many CHRISTMAS albums in your lifetime,but very few have this overall quality of singing with a nice display of harmony behind it.What distinguished NAT is his great sensibility that always transpired in his best recordings.You'll want to comeback to it year after year.Only FRANK SINATRA's 1957 offering comes close in matching this classic for the ages.A big mistake for you would be to listen to it alone after many drinks.The tears just might come to you. ... Read more

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When critics refer to Sinatra's Capitol albums, their highest praise is usually reserved for the dark melancholy of Wee Small Hours or Only the Lonely. But the upbeat "Swinging" records should not be ignored. Probably the finest of these albums is Come Fly with Me. The first of Sinatra's albums with arranger Billy May (whose arrangements have been overshadowed by Nelson Riddle's), Fly is the conceptual equal of Lonely-a carefree, romantic musical travelogue. From the opening invitation--one of Sinatra's most rollicking vocals--to the tender invocations of "Autumn in New York" and "April in Paris," and the serene seductiveness of "Moonlight in Vermont," Sinatra personified the modern traveler--jaunty, cosmopolitan, irrefutably cool. --Steven Mirkin ... Read more

Reviews (28)

favorite Sinatra album
This was the album that got me hooked on Sinatra 25 years ago when I was in my early teens. Maybe it was the cover showing a very hip Sinatra about to travel with a pretty girl to an exotic location. Maybe it was the absolutely perfect choice of songs (with the possible exception of "Blue Hawaii" which doesn't do it for me.) How many songs allow you to travel the camel route to Iraq or savor Autumn in New York? They truly don't write tunes like this anymore. Maybe it was the sparkling and witty arrangements by Billy May who proved on this album he could write strings as well as uptempo pieces.

Whatever it was, I have listened to this album hundreds of times and never gotten tired of it. You won't either. With its mixture of swingers and ballads, this is the perfect album to get someone listening to Frank.

Sinatra's first swingin' session with Billy May
Sinatra's 1957 collaboration with Billy May, their first, is a globe-trotting theme LP with a breezy, swinging spirit. As on nearly all the albums Sinatra would record for Capitol, he displays an unnerving effortlessness as he glides through his collected songbook. The travel theme sets the jet-set tone, from the invitation of the title track (written especially for Sinatra by Sammy Cahn and James Van Heusen) to the wanderlust of exotic locales (Capri, Mandalay, Paris) and loving songs of American landmarks (New York, Chicago, Hawaii).

Billy May's arrangements are bolder than Nelson Riddle's or Sinatra's other Capitol-era arrangers, and their flights of fancy are perfectly suited to the travel theme. Though the material doesn't have the emotional gravity of ballad albums like "Where Are You?," Sinatra lavishes a similar attention to detail on each song. And though the themes are generally upbeat, there's a good share of ballads, including an intimate reading of "Autumn in New York" and the springtime discovery of "April in Paris."

This remastered CD adds three bonus tracks, all produced by Nelson Riddle. 1953's "South of the Border" features bold brass lines that sound surprisingly like a typical May arrangement. 1957's "Chicago," recorded just a month before the album itself, is an icon of Sinatra's catalog, and 1960's "I Love Paris" is a typically fantastic collaboration between Sinatra and Riddle. The latter's stereo horns really grab the listener's ears. Overall, the remastering is crisp, and Pete Welding's liner notes are very informative.

Billy May would return again to arrange 1959's "Come Dance With Me," and 1961's "Come Swing With Me," but though these later works may have swung more broadly (especially the 1959 release), they never fully recaptured the carefree joy of this initial collaboration.

"if you can use some exotic booze!
"Come Fly With Me," Sinatra's 1957 album with Billy May stands out for a number of reasons all at once.

It's the singer's first collaboration with May and the only Sinatra Capitol concept album to feature a repetoire of ballads mixed with swingers.

May's sense of humor abounds in the uptempo numbers and Sinatra's is right in there with him-- ("there's a Burma 'broad a settin'.............'twas goobye at the Villa Capri (a plug for a Sinatra owned Italian restaurant at the time).

"Fly" also revealed Billy May's talent as a ballad arranger...his classic chart for "Moonlight In Vermont" stayed in the Sinatra concert books for years, and Sinatra's reading of "April in Paris," with that elegant phrasing and long lyric lines, is simply stunning.

Not to be overlooked in May's sensational arrangement of "Brazil" propelling Sinatra to swing from the rooftops as he had never done before.

This newly remastered issue is a vast improvement sonic wise over Capitol's initial CD release and contains thee bonus tracks
"Chicago" and "I Love Paris" arranged Nelson Riddle and 1953's "South of the Border" arranged by Riddle in the Bily May style.

Point of information--Cahn and Van Heusen's title song had the original lyric reading "if you can use some exotic booze"...some people at Capitol thought that line not appropriate for an Eisenhower-era family release and Frank originally altered the lyric and sang "some exotic VIEWS".....after some debate, Frank opted for the more exotic "booze" and called the entire orchestra back for a re-recording.

"Fly" is the world's greatest pop singer and one of America's premiere arrangers at the peak of their form.

Sinatra's Greatest Album.
"Come Fly With Me" is in my opinion, Sinatra's greatest album. The tracks on this album were recorded in April 1953, October 1957, and April 1960. This is yet another album with Billy May and his Orchestra.

This 1998 reissue to CD, gives us three extra songs which were not on the original release: "Chicago", "South of the Border", and "I Love Paris". The first two mention are in mono, while every other track on this album is in stereo. The sound quality is great. It was Digitally Remastered by Larry Walsh using 20-bit technology.

This album has the theme of travelling around the world to different countries and citys. It is somewhat similar to the 1958 Bing Crosby and Rosemary Clooney album, "Fancy Meeting You Here", which was also with Billy May and his Orchestra.

The big highlights on this disc for me are: "Brazil", "Around The World", "On The Road To Mandalay", "Chicago", and obviously the title song, "Come Fly With Me". There is not a bad track on this album at all.

With Sinatra in great voice, Billy May's swinging arrangements, the wonderful songs, and the great sound quality, this disc is certainly one you need in your CD collection. Essential buying. Just absolutely great. For another recommendation, check out the Bing and Rosie album I mentioned, which is in my opinion, the greatest album from any performer. If you like "Come Fly With Me", you will love "Fancy Meeting You Here".

Sinatra and May: A Stellar Showcase of Versatility...
Arranger Billy May was so successful as a touring bandleader and arranger that he was unavailable to record Sinatra's first sides for Capitol in 1953. Amazingly, the two would not be joined on a project until the present project in 1957, but judging from the results, it was more than worth the wait!

May showcases his impressive range as an arranger in another of Sinatra's groundbreaking "theme" albums, this one revolving around travel. The difference in this album is that the concept stressed is not principallly stylistic as in the series of albums preceding it,thus May covers the spectrum from his lush string backing on classic readings of "Autumn in New York" and "Moonlight in Vermont" to his driving brass chart on "Brazil." There was clearly a lot of fun involved in the making of this album too. Witness Sinatra's play on words in the lyrics of the witty "Isle of Capri." And who else but May and Sinatra could have combined their talents to inject an irresistible measure of swing into Rudyard Kipling's poem "On the Road to Mandalay"? The title song as well as "Let's Get Away From it All" have become core fixtures in the cache of titles most associated with Ol' Blue Eyes.

Sinatra is in peak form throughout, and May displays his genius for textures and subtle orchestral touches at every turn. This is the most varied program in Sinatra's entire recorded catolog at Capitol; add to it performer and arranger both at their considerable best, and this collection ranks as probably the finest single-album showcase of Sinatra's incredible vocal and interpretive versatility. ... Read more

Reviews (8)

Ella As Smooth As Honey!
Another great Ella Collection! This one has a few semi- hard to find tunes from her work with Duke Ellington that are among the disc's best. These are "Love You Madly", "Solitude",and "Prelude to a Kiss". Finding the best of Ella is not easy, given her vast legacy and super- high quality, but this is a good place to start. And since it's a mix of various Ella "Songbooks", the mix of composers like Duke Ellington, Mercwer, Gershwin, Arlen, and Porter is a nice touch too!

Ella is the best!
The songs on this one are just as wonderful as the other "song books".
For anyone that has never listened to Ella. This is one to try.

Ella is perfect - as always
To me, Ella is one of those one-name superstars. The purity of her voice and her ability to interpret a song makes her simply the best. This collection has some beautiful selections and some amazing performances from Ella. This is by far the best album of hers out there and it's always in my CD player. I can't recommend this selection strongly enough.

Standard of Reference
It's been well documented that the favorite singer of composers like Kern, Gershwin, Berlin, Porter was, of all people, Fred Astaire. They loved him for the same reason listeners and collectors of the "American Songbook" should be thankful for these Ella collections: The interpreter remained true to the composer's intentions--melodically, rhythmically, lyrically.

Admittedly, this respectful, "straight" approach to the material has its liabilities. There's a certain sameness and sterility to these studio recordings (one almost wishes for an audience, or for an Oscar Peterson on piano), yet I couldn't be without them. They're a valuable resource--for definitive, exemplary, relatively unembellished readings of many of the best songs by America's greatest composers. But therein lies the problem with these Verve reissues. The originals were all grouped by composer, but the anthologies, by trying to organize the tunes "thematically," simply diffuse the focus of the original albums, which was as much on a composer as on Ella.

"Love Songs" is scarcely a useful title for a collection of popular standards, especially one containing songs of every hue and tempo. And one of the selections, "Love You Madly," sounds as much a "period piece" today as it did on the original vinyl. Otherwise, the songs indeed are "classics," and one can only hope that listeners of the album will do enough research about the songwriters to give credit where credit is due.

Excellent musicians
This is my favourite Ella record of the moment. Check out "Solitude", the guitar player is wonderful and is an excellent listen in itself. Bravo to you wherever you may be. ... Read more

Reviews (22)

I'd bring her flowers
Whilst still grappling with Jon Peters and her record company's need for her to be commercially viable, Streisand's Songbird album is further evidence of the range of Barbra's voice at the time. If a lot of these songs are of lesser material, this is nothing new for Streisand, since her choice of material has always been eclectic, even in her early recording days, and perhaps a reminder of the attitude of her mentor Barry Dennen, who was more interested in the singer drawing attention to herself rather than subjugating to the song. (This argument was sweetly defended by saying she was "acting" the songs). Examples of this mentality here are One More Night and Deep in the Night, where the greatest pleasure is in hearing her histrionic climbs. Honey, Can I Put on Your Clothes, prefigures Barbra's transvestite interest in Yentl, though it's telling that she got the greenlight for Yentl at the cost of Peters. The title track is probably the strongest song melodically, since it uses her favoured three act structure. Her rethinking of Tomorrow, a reminder of the reinterpreting of standards a la Happy Days are Here Again, with her version understated yet still emotional. And her solo You Don't Bring Me Flowers, evidence that Neil Diamond was never needed, and also why she is considered to have one of the greatest voices of the twentieth century.

"She Tried"
An overproduced outing that at least has some good tunes such as "Stay Away", "One More Night" and the title-track. But the rest forgettable except the OK take on "Honey, Can I Put On Your Clothes" (formerly done on A&M by Elkie Brooks) and the execrable "Tomorrow (theme from the musical, ANNIE)".

Just buy if you are interested in albums featuring Larry Carlton, John Tropea, Allen Schwartzberg and other Session-Musician Clock Punchers.

Not much of Barbra's singing there to enjoy.

UNDER RATED "CLASSIC STREISAND" of THE 70s.
This CD is worth purchasing! Should you be a fan of female vocals then do no hesitate to purchase this compilation.

Streisand's delicate rendition of "TOMORROW" from Broadway's ANNIE brings new texture to the lyrics and is worth auditioning. This CD freezes perfectly a moment and spirit of pop music in the mid 1970s.

Fantastic - A must for any Streisand Collection
My lord. This is Streisand at her best!!! Yes, along with Superman and Wet I rate this some of her strongest material and voice of her whole career. Produced by Gary Klein, the only producer to produce more than one album with the diva, this is slickly produced and a real cd. Streisand went on to work with famed David Foster but it turned out to be more hype than quality. Get this for your collection - guaranteed winner!

Good, if forgettable, disc from the singer I love.
I would actually give this album three-and-a-half stars. There are some very good moments on Barbra's follow-up to the smash STREISAND SUPERMAN album. Once again produced by Garry Klein, it's somewhat surprising that SONGBIRD barely missed the Top Ten (stalling at a still very respectable #12), but it quickly went Platinum anyway. The disc gets off to a false start with a laid back version of the silly ANNIE theme "Tomorrow," however at least Streisand's rendition of the song is probably the best there is.

The song selection gets better after that, with the torchy "A Man I Loved," the lovely MOR ballad "I Don't Break Easily," and the Motown-sounding "Love Breakdown" the strongest numbers of the disc's first half. The rest of the album features a slate of sturdy but mostly forgettable songs, with only a couple of tracks making a lasting impression. Barbra's solo rendition of "You Don't Bring Me Flowers" is solid, but not a match for the duet version that topped the charts later in the year.

The closing title song, a restrained ballad that is given an incredibly moving subtext from Barbra's vulnerable and understated performance, is probably the best cut on the album. It was the only single released from the record and it cracked the Top 25 on the pop chart and hit #1 on the adult contemporary chart. Overall, Songbird is a good recording that is pleasant and tuneful, but fairly unmemorable as well. ... Read more

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Underrated, at least in comparison with the better-known In the Wee Small Hours and Sings for Only the Lonely, 1957's Where Are You? is another excellent collection of melancholy torch songs, including "Lonely Town," "The Night We Called It a Day," "I Think of You," and "Maybe You'll Be There." As on those records, Sinatra doesn't sing so much as breathe, never overwhelming the fragility of the compositions with excessive displays of emotion. Of course, this approach just makes the songs sound that much sadder. This was also the first record Sinatra recorded in stereo, and Gordon Jenkins's lush string arrangements are obviously designed to take advantage of the new medium. --Dan Epstein ... Read more

Reviews (10)

"Mood Red, Gold and Brown"
We hear less about "Where Are You?" than "In The Wee Small Hours" or "Only The Lonely," but this concept album is every bit their equal. The three albums' covers tell us a lot about their actual sounds: "Wee Small Hours" is deep purple and blue (as in "Mood Indigo"), "Only The Lonely" is a nihilistic black, and "Where Are You?" features the brownish colors of autumn. Appropriately, we hear "Autumn Leaves" seven tracks into the CD, and the other fall classic, "There's No You." A mere glance at the titles gives us an idea of how appropriately Sinatra & Co. chose the material for these concept albums. Sinatra also worked with the perfect partner in Gordon Jenkins, whose golden Old World tones and floods of violins match well the melancholy of each Sinatra vocal. And what vocals! I'd say Frank's voice was at its best twice in his career-- around 1943, and then around 1957, when this album was recorded. He has that ringing, pure and secure quality of the younger Voice, but all the cello-like richness of "Sinatra, Act II." Sinatraphiles like myself love to compare earlier versions of Frank's songs with later versions included on albums such as this. Six of the twelve songs on this album Frank had already recorded at Columbia, and one-- "The Night We Called It A Day"-- was actually part of his very first solo session in 1942, when Tommy Dorsey was nice enough to let Frankie cut four sides with Axel Stordahl on the Bluebird label. "Laura"-- from the fine movie of the same title-- has to be one of the greatest ballads ever. It is so spooky yet universal in its statement of yearning. "Lonely Town" has Leonard Bernstein's name on it, a rarity among Sinatra recordings. Hear Sinatra's voice surge about half way through and see if you don't choke up a bit. "I Cover The Waterfront" is one of those classics where Sinatra's competition includes Billie Holiday, and I think he still comes out on top. If Nat King Cole beats him out on the already mentioned "Autumn Leaves" it is mainly because of Nelson Riddle's falling-leaf motif arrangement. "I'm A Fool To Want You" has a very familiar history-- personally I'd rather not hear this version, as the first one, recorded during the stormiest time of the storm that was Ava Gardner, is just too perfect to be reprised. "I Think Of You" is based on a theme from Rachmaninov's Piano Concerto No. 2, and might be sappy in the hands of some interpreters (especially with Jenkins on board), but Frank delivers it with dignity and honesty. The bonus tracks are fabulous too. "Rain" was one of the first songs to be recorded with special effects. Normally I wouldn't care for that distinction, but the rain sounds go perfectly with Nelson Riddle's back-and-forth-windshield-wiper arrangement. All four bonus tracks are Riddle's work, including maybe one of the top ten best songs of Frank's career, "Don't Worry 'Bout Me." He always loved it, and the conversational quality that is so direct yet profound makes me realize why. So here is a CD that fans of good music simply can't pass up-- Sinatra at his very best.

One of my favorite albums by any artist. Truly haunting.
With the release of this album as well as "A Swingin' Affair" and "Come Fly With Me," 1957 was one of many landmark years for Frank Sinatra. I am only 28 years old, but I have listened to some of the greatest music of the 20th century. Without a doubt, "Where Are You?" ranks as one of my favorite albums by any artist. The selection of the album's 12 original songs is impeccable - virtually every one of them is stunning and haunting in both lyrics and melody. And the inclusion of the four bonus tracks, while unnecessary, certainly does not detract from the collection.

However, it is Frank's unparalleled interpretations of these 12 classics that gives them a whole new life, and Gordon Jenkins' string-laden orchestra complements Sinatra's vocals perfectly. The songs on this album collectively create a mood of unmistakable loneliness and are perfect for a chilly autumn afternoon.

In my opinion, this album represents Sinatra in peak form. His voice had grown deeper and richer than in his early days, and he had by now fully developed his art of interpreting songs and putting them across with honesty and without fanfare. Other than Billie Holiday, I don't know of another singer with Frank's interpretive abilities.

Owning this album is a must for anyone interested in looking beyond the "greatest hits" packages and delving deeper into the annals of this one-of-a-kind artist.

the very essence of expressive pop music
sinatras singing here is the very essense of expressive. he and the lush jenkins strings evoke something remarkable.
it is no accident that such high calibre and diverse artists such as montgomery clift and herbert von karajan thought sinatra 'it' as far as popular music goes.
prepare to be deeply moved.
and, as in all great music, its haunting beauty can only be heard, not fully described.

Superbly lush stereo from Sinatra and Gordon Jenkins
Sinatra's first of three albums recorded with arranger/conductor Gordon Jenkins, and the very first Sinatra album recorded in stereo. As the liner notes point out, dawn-of-the-stereo-age recordings such as this are, in many ways, the equivalent of Blue Note's monumental mono works, in terms of preparation. The early 2- and 3-track stereo recorders didn't provoke the sort of piecemeal punch-in assembly that later multi-track recorders would truly enable. Instead, stereo was used as a way to document the physical space of the orchestra and singer. Sinatra is framed in a consistent fashion by the surrounding musicians, rendering Jenkins' orchestrations as beautiful scrollwork decorating the landmark voice.

Given the hard-swinging albums that Sinatra minted the same year (e.g., 1957's "Come Fly With Me" and "A Swingin' Affair!"), this incredibly melancholy turn shows his mesmerizing ability to inhabit a ballad to be completely uncompromised. In many ways this album is a follow-on to the 1954 effort, "In the Wee Small Hours," but with Jenkins' arrangements in place of Riddle's, and a string-heavy orchestra providing dramatic, classical underpinnings to the lyrical confusion and sorrow. Opening with the title track, Sinatra approaches these forlorn songs with a tone that is at once nuanced and delicate, but stoked by the punchier timbres of his swing singing. He comes across as tougher and more mature on the outside, while, in the end, just as lost on the inside. It's a brilliant weaving of the strands he'd been spinning throughout the decade.

This album doesn't get the spotlight of "In the Wee Small Hours," or the ring-a-ding-ding up-tempo albums, but it is every bit as good. And given that it's lesser-known, it is the hidden gem for those just discovering Sinatra's catalog. It's both a perfect starting point for appreciating Sinatra's gifts as a vocalist, and an essential addition to anyone's Sinatra collection. Capitol's CD reissue adds a quartet of tracks arranged in a similar mood by Nelson Riddle in 1953 (and produced in mono), and while they're fine in their own right, the original twelve tracks earn five-stars all by themselves.

Where Are You, Frank Sinatra?
For some bizarre reason this 1957 release isn't considered one of Frank Sinatra's two or three best albums. Possibly that's because it wasn't arranged & conducted by Nelson Riddle, who was to Sinatra in the 1950's what George Martin was to the Beatles. There's no doubt that Sinatra and Riddle made some of the era's---hell, the century's---best music, and that Riddle's sparse, flawlessly-wrought arrangements matched Sinatra's pitch-perfect, unflappable voice the way Sinatra's fingers matched a martini glass and a cigarette...(and the good news is this CD provides 4 songs not on the original release that were arranged by Riddle)...but the bulk of this album was orchestrated by Mr. Gordon Jenkins. The music is lush, dramatic, even movielike, and at moments seems in danger of getting carried away into gross sentimentality, but it never does. Jenkins was a master at creating a mood, setting the scene for the actor to enter into and do his work without fear. And Sinatra, in the guise of the melancholy hero familiar to fans of his films "Young At Heart" and "Meet Danny Wilson", is in top form here, using his voice to vent an ache as deep and blue as loss itself. There are songs on this CD that are shockingly familiar to anyone who's loved and lost, songs like "I Cover the Waterfront", "I'm A Fool to Want You", "The Night We Called It a Day", "Autumn Leaves", and the title tune...and Sinatra works the lyrics with such passion and precision you'd swear he was speaking the beats of your own heart...and then there's Jenkins' music, slowly rising and swelling, then gently falling and finally crashing down to earth into silence and you think there can't be anything more to say about that...and then Sinatra draws a breath and a violinist draws his bow and it all begins again. It's true that Sinatra painted his masterpiece the following year with his and Riddle's CD "Frank Sinatra Sings For Only the Lonely", but it's also true that as a practice run for his chef d'oeuvre, "Where Are You?" is pretty damn d'oeuvre, too. ... Read more

Amazon.com

Never as dramatic in her interpretations as Frank Sinatra, Ella Fitzgerald nonetheless imbued the songs she chose with a personal touch. This disc, one of several recent distillations of her epochal Songbook series, wisely chooses a number of relatively lesser known pieces ("Let's Begin," "You're Laughing at Me") to complement classic readings of "I'm Old Fashioned," "Oh, Lady Be Good!" and "Ill Wind (You're Blowing Me No Good)." Ella's singing tended to shield her pain, but the resigned note she brings to some of these numbers is touching. A good starter disc for those who would investigate her wide-ranging Verve catalog. --Rickey Wright ... Read more

Reviews (11)

Get It For the Sound Quality
Verve has certainly been imaginative in coming out with a series of Ella recordings compiled under some equally interesting groupings, with this one being under "Ballads". True, most of the songs here qualify as slow burners, but for any Ella fan, it's disjointing hearing these songs out of their original context. All the songs here are culled from Ella's various "Songbook" series done back in the late '50s and early '60s, dedicating each songbook to a particular famous writer. This is just another marketing gimmick by Verve to come up with another CD compilation to rake in the bucks. But for any casual jazz listener, this may well be a good starting point to one of jazz's greatest voices, if not the BEST, ever. Sound quality is beyond reproach, for most of the annoying hisses and bad scratches have been scrupulously avoided. If you don't mind having your Ellington titles mixed up alongside your Gershwin and Cole Porter tunes, then this is a good set to begin. If you're a serious Ella fan, I would recommend getting the songbook series if you can afford it, especially the newly remastered versions put out by Verve/Universal in the last few years.

oh ella be good
with so many ella cds in release, you may be confused about where to start;start here.this was my first ella cd and about 60 cds later ella and i are still going stong.(i just pre-ordered ella sings broadway).this is one compilation that is good enough to stand alone,though you soon won't be able to get enough ella.i wanted to name my favorite selections but find that i can't.the entire cd is perfect and it will always hold a special place in my heart.enjoy.

Gives me chills in the best way
No one sings like