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Day, Doris - Love Him!
(CBS SBPG-62226 UK-63 EX 350:-)
Except for a single release of the title song from her film Move Over, Darling, Doris Day stayed away from the record racks for most of 1963, possibly dissatisfied with Columbia Records' efforts to record and promote her with outdated concept albums of old standards at the same time that she was the reigning queen of Hollywood. But in the winter of 1963-1964, she returned with her first new LP in more than a year, Love Him!, and it represented a whole new approach. The producer was her 21-year-old son, Terry Melcher, and he attempted to bring his mother's musical style up to date by banishing the silly concepts and carefully choosing contemporary material he thought would suit her. He got Brill Building pop songwriters Barry Mann and Cynthia Weil to pen the title song, a bolero in which a woman gives another woman advice on the man she has lost to her. | ![]() | Nimoy, Leonard - Two Sides of Leonard Nimoy
(Dot DLP-25835 US-68 coh EX 500:-)
In his second venture, Nimoy goes deeper into Star Trek self-parody with "Highly Illogical" and "The Difference Between Us." Somewhere between the recording of the first and second albums, there was a novelty hit called "Desiderata" featuring a reading of the pithy pop-culture beatitude. Nimoy takes up the gauntlet with "Spock Thoughts" suggesting that a certain pointy-eared Vulcan spent at least some of his time reading posters in West Coast head shops. "Once I Smiled" is simply one of the worst songs ever recorded; obviously inspired by "This Side of Paradise" where Spock ingests some groovy spores and lets it all hang out. "Once I smiled a smile so rare... loved a girl with golden hair... acted like a human boy...". "Amphibious Assault" is a thinly disguised anti-Vietnam war protest song. To paraphrase the late Walt Kelly, he disguises his anti-government protest so cleverly, you can't really hear it at all. Side Two features one of the most amazing artifacts ever committed to vinyl: The Ballad of Bilbo Baggins. Not satisfied with his musical disembowling of the most popular sci-fi series of all time, Mr. Nimoy turned his substantial talents towards the works of an elderly British fantasy literature writer. In the course of the 2 minutes 18 seconds of horror that follow, not only is the plot of the entire novel given away but Nimoy knowingly lets the listener in on what Bilbo is really smoking in his pipe down in that wacky hobbit-hole. There is also a bassoon solo. It would take Jimmy Page and Robert Plant years of hard work to come up with worse Tolkien inspired drivel | ![]() | Sinatra, Frank - A Man and his Music
(Reprise 2F-1016 US-65 EX 1250:-)
Limited Edition Boxset with 3D Raised Silver Letters,
2 LP's and a 26pg Booklet with Discography. One of the rarest of Sinatra collectibles, this Deluxe Edition was produced in very limited quantities! | ![]() | Smith, Verdelle - (Alone) In my Room
(Capitol T-2476 US-66 EX 500:-)
Verdelle performed a very successful disappearing act after 1966. But, 'Tar and Cement' was a big international hit in '66 - although it only reached #38 in the US. It was originally an Italian smash for Adriano Celentano under the title 'Il Ragazzo Della Via Gluck'. French chanteuse Françoise Hardy did a nice French version under the title 'La Maison Où J'ai Grandi'. In Sweden the song was recorded by Anna-Lena Löfgren as "Lyckliga Gatan". | ![]() | Sumac, Yma - Miracles
(London SHU-8431 UK-72 EX 350:-)
The album cover of Miracles is a striking gold on blue with imagery of modern technology meeting the old world. VU meters adorn steps next to a mini sphinx with boats and electric/acoustic guitars in the water. The first song on this disc should've been a hit; "Remember" begins with a hard rock explosion and Sumac exploring what the liner notes call her "extraordinary five-octave voice." There are no lyrics here, just Sumac's vocal flights which ride over rock & roll textures. | ![]() | Tormé, Mel - California Suite
(Bethlehem BCP-6016 US-57 NM 400:-)
Mel Tormé's California Suite originated in 1949 and was the first blossom of his interest in composing and expanding the palette of traditional pop beyond crooning. Recorded while he was at Capitol, the original conception was a 20-minute piece recorded with the help of arrangers Billy May and Neil Hefti plus Peggy Lee on vocals. In response to support from fans and his next label, Bethlehem, Tormé expanded California Suite to a full LP eight years later. His new friend, Marty Paich, gave the arrangements an upbeat feel, splendidly evoking the go-go '50s. Though many tracks border on that cagey territory between a pep rally and a tourism commercial, the music is bright and bouncy, with Tormé gliding over the arrangements with sheer grace and even finding time to get in an occasional dig at Californian sensibilities ("That's not smog/It's just heavy dew"). | ![]() |
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