A CERTAIN SMILE

Do you remember watching AB each week, copying the latest dance steps and listening to the top songs of the late '50's and early '60's? Then you will enjoy the Golden Classics Edition of Jerry Fuller - "Teenage Love." You are probably not familiar with Jerry Fuller as a singer, but as a songwriter you will recognize his 1961 hit "Travelin' Man" recorded by Ricky Nelson. He also wrote "A Wonder Like You" for Nelson and later wrote "Young Girl" and "Lady Willpower," which were hits for Gary Puckett and the Union Gap. These early recordings of Fuller on the "Teenage Love" CD are reminiscent of the stylings of Ricky Nelson, the Everly Brothers and even Elvis. I wore out the grooves on my 45's listening to "Angel From Above," "Through Eternity," and "Betty My Angel" over and over again. For those of you who are not Baby Boomers, a 45 rpm record was the predecessor of the single CD. I urge you to get this classic CD - golden songs by a golden talent from a golden time.

How many Jazz guitarists are out there? How many are willing to release an entire CD of Solo playing? Martin Taylor is a true gentleman willing to share himself with the world and "Artistry" is a very intimate experience with one of the true greats of Jazz Guitar. Anyone interested in solo jazz guitar playing should listen to Martin and this CD is a great example of his work. His playing is so impressive yet not out of touch with his audience. He can really blow as he does on "Cherokee" but still remains sensitive, as on every track!. He really swings on Ellington's "Just Squeeze Me" and his rendition of the Beatles' "Day Tripper" demonstrates his ability to let his hair down. Martin's playing on "Artistry" is amazing to say the least without the typical guitarist tendancy to show off (much!). One listen and it's easy to see why he is being asked to play the calibre of gigs he is these days. "Artistry" reminds me of the small venue settings he used to play on his visits here to Australia and the closeness of the artist to his audience. It's almost as good as being there, just close your eyes and picture his fingers (if you can !)

the best guitarist since ted greene. seemingly impossible versions of 'cherokee' and 'can't take that away. . .' solo lines doubled with rhythmic bass lines, wonderful attention to melody. GREAT touch. a MUST for guitarists.

Artistry displays Taylor at his best with complex and dense arrangements of jazz standards such as "Polkadots.." and lesser known favorites such as "The Dolhpin." His double time chord/melody/bass rhythms must be heard to be believed. Far superior to "Portraits".

Excellence March 12, 1999
Reviewer: Robert Wyatt from London

See Martin Taylor play a live solo concert and this album will become a must have addition to your record collection. If you have never had the pleasure of seeing him live then go out of your way to do so - if thats impossible then buy this CD. The playing and production are exemplary. Martin Taylor's technique on the jazz guitar is awesome, there is surely no finer exponent of this art working in the world today. It is almost beyond belief that some of these cuts were possible without overdubs - but then see him live and you'll understand why.

To experience Mathis in top form, backed by top-notch arrangements performed by a top-notch orchestra, is something I've experienced five times since "discovering" him in 1984. It's something not easily captured on record. "Johnny Mathis Live" is a good representation of a Johnny Mathis concert...it's not the best I've ever heard, though. That honor goes to the only other Mathis live recording from 1972, which is, sadly, long since out-of-print, called "Johnny Mathis In Person, recorded live in Las Vegas". If I may sing the praises of D'Arneil Pershing and Roy Rogosin, they did the best job of backing Mathis' stellar vocal performance with their imaginative arranging and conducting skills. This recording, from a concert in Great Britain, falls short in terms of excitement level for me. Unlike its predecessor, this recording was turned into a kind of "Johnny's Greatest Hits Live" and tries to give the feel of a show in ten songs. Can't be done, folks. It should have been another double album like its predecessor, and the "greatest hits" should have been greatly condensed...just like they are in concert.

"Johnny Mathis Live" is truly my favorite Mathis album. Any fan who has gone to a live Mathis concert can understand when I state that Johnny Mathis sounds better live than on any of his recordings - the arrangements at a live concert are tremendous and support his voice to maximum effect. My personal favorite on this CD is "99 Miles from L.A.". This version moves me to tears every time I hear it. Johnny infuses the song with emotion and longing. Of course, the live version of "The Twelth of Never" is a hundred times better than the original recording. This version features Mathis backed by a guitar and its simplicity makes for a sublime experience. This CD brings the concert experience into your home - you won't be disappointed!

Outstanding easy listening/ lounge comp with gems by Dean Martin, Andy Williams, Tony Bennett, Dusty Springfield and more! 38 tracks including such classics as 'Spanish Eyes', 'Born Free', 'Don't Sleep In The Subway', 'Guantanamera', Witchita Lineman', 'These Boots Are Made For Walking' and 'It Had To Be You'. 1999 release. Slimline double jewel case.

What a great collection...if you thought you had it all, this one may prove you wrong. Born in '61, I hadn't heard many of these tunes since I was a small kid. It's amazing how powerful the songs must have been on a very young mind at the time. Thanks Mom and Dad! Wow! You'll love it...2 CD's long...and it is heads and tails above most compilations including anything from Rhino. This is true bachelor pad music, but with a classy and groovy danceability. You WILL NOT be disappointed. A#1+++++++

I had this as a Birthday present. If you were born, as I was, in the late 1950's then you heard your parents sing these tunes and they were the background to your early years. The compilation bowls from one historical masterpiece to another with smooth and yoyful simplicity. No-one will be able to resist the urge to throw their head back and dance... Yet this set is diferent. They are not the simply the tunes we hear every day studded between the well known jems are some surprising and delightful less well known pieces.

Mathis was among the singers who, in the '60s and '70s, churned out an album every few months--often made up largely of the same recent chart hits his peers (Andy Williams, Jerry Vale) were covering. Despite the presence of "Feelings," however, this four-CD box is low on chaff and high on the wispy romanticism of hits such as "Chances Are," "Misty," and "It's Not for Me to Say." --Rickey Wright

Lavish four-CD box set containing 86 songs (hits and rarities) of unashamed romance, chosen by Johnny Mathis himself, plus 68-page booklet with biography, song-by-song commentary and personal photos. --Ian Cranna -- © Emap Consumer Magazines Limited. For personal use only.

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.

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".

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!

When Astrud Gilberto (wife to the great singer and guitarist Joćo Gilberto) sang the now-classic "The Girl from Ipanema" in 1964, she'd had no formal vocal training. It mattered little, as her laid-back sensuality overflowed through the song and propelled her on to several more musical projects. This 1966 collection with the small combo of organist Walt Wanderley, guitarist Joćo Gilberto, bassist José Marino, and Claudio Slon on drums features Gilberto's reposed voice in such a seductive, warm light, one thinks they've died and gone to drink martinis in a Rio lounge. The album includes a mix of classic bossa nova tunes ("So Nice" and "Call Me") sung in both English and Portuguese. Astrud was as cool as a cucumber and her untrained, nonchalant grace gave her singing its unique charisma. It wasn't until the late 1980s that the world heard this sort of passive, detached persona again in the bewitching vocals of Cesaria Evora, proving once again that style and delivery are just as important as distinct vocal tone. Astrud Gilberto taught us great singers aren't made on a voice alone. --Karen K. Hugg

I had this on vinyl for a very long time. (At an estate sale, I happened upon approximately 60 or so old Brazilian lp's, this being one of them.) I finally purchased it on cd, and fell in love with it again. Typical Gilberto, and as usual, Wanderly does not fail to deliver the goods. Also check out Verve's "Round Midnight" collection of Astrud, if only for "Non-Stop to Brazil" alone. That song never fails to please. Now if I can only find her version of "Planes, Boats and Trains" on cd. Perhaps, if I had to choose, my favorite Astrud song of all time.

I disagree with the positive reviewers completely. I am a casual Astrud listener who unfortunately bought based on their reviews, and was let down. I just wanted Astrud's lovely voice with simple accompaniment. What I got was an organ drowning out her voice. I have since bought the Silver Collection, which I think will suit better most people wanting a casual listening experience where the emphasis is truly on her lovely, simple voice.

No everything-including-the-kitchen-sink arrangements. Just Gilberto's lush voice, Wanderley's ace organ playing, solid drumming by Claudio Slon and some v ery welcome guitar by Carlos Lyra (NOT Joćo Gilberto, like the cd booklet wildly guesses), along with a very good selection of songs, make up Astrud's best album. Why is this the best one? Because of the bare bones production, the fantastic playing and the good repertoire choice. It reveals what Astrud's really all about: a great pop singer.

After several second-rate Astrud compilations, Verve has finally reissued her one recording with the Walt Wanderly Trio, with bonus tracks and 20-bit digital mapping that results in great clarity and seperation of sound. The six tracks from these sessions tacked on to the end of BEACH SAMBA was a cruel and unusual teaser for Astrud fans, not to mention the smattering of tunes that ended up on various compilations. But one no longer has to spend a small fortune amassing the tunes from these compilations in order to reconstruct a piecemeal version of the album, because Verve's "By Request" series has finally come through. In my opinion, this is the greatest summer/springtime record of all time: the echoing organ, the percussion, Astrud's vocals--one can't help but picture a polka-dotted beach ball bouncing around on South American shores. Astrud's voice, while never technically stunning and more Chet Baker than Ella Fitzgerald, serves as a stunning counterpart to the small combo's rhythmic drive. Honestly, at times you'd think it was a nonet rather than a trio due to the rich production style that sounds much more like Joao Gilberto's recordings for World Pacific than the subsequent West-Coast influenced Getz recordings. The majority of the tunes are uptempo, with only a couple of ballads thrown in for balance. The Portugese cuts are excellent ("Nega Do Cabelo Duro", "Voce Ja Foi Bahia"), as well as "Goodbye Sadness (Tristeza)" and the minor hit "Call Me". For the price, this is a magnificent bargain. Now if Verve would only put out a remastered version of the recording she did with Jobim (apart from the antiquated, horrible-sounding SILVER COLLECTION disk), all would be complete.

This is the second single collection from Mathis in the 60s. Great music, great arrangements, great singing. It“s Mathis at his best.

It's been suggested that almost as many baby boomers were conceived to the romantic sounds of Johnny Mathis's voice as to Sinatra's--and when you consider that Johnny's Greatest Hits stayed on Billboard's Top 40 chart for 178 weeks beginning in '58 (that's more than twice as long as Dark Side of the Moon, folks!), it's easy to understand why. Sony has used this "16 Most Requested" routine on a number of their easy-listening vocalists (including Sinatra and Andy Williams), but this one is special in that it takes the cream of Mathis's Greatest Hits album and rounds it out with his 1970s take on several movie theme hits, including Love Story and Romeo & Juliet. A truly unique and romantic sound. --Bill Holdship

Most 1950S crooners played (and lived, to a degree) the life of martini-mixing men of the world. Johnny Mathis, here with 16 of his greatest hits, gained his strength and fame from naivete'. Handsome, athletic, gifted with pipes the timbre of Ella Fitzgerald's, Mathis and orchestral collaborators Percy Faith, Ray Conniff, Frank DeVol, and Glenn Osser crafted sparsely orchestrated, delicately sung hits celebrating love's opening moments. Mathis sings convincingly of love's discovery ("Gina," "Maria," the oh-so-good "Small World.") and fear of the unknown ("Chances Are," "It's Not For Me To Say," the definitive vocal "Misty," featuring music's most romantic introduction). Teenagers fell for this music which shared, at best, a thread with rock n' roll; Mathis sung the confusion and exhiliration they felt, only more tenderly. The 60s-70s film songs (themes from "Star is Born," "Romeo and Juliet," and "Love Story," plus Jimmy Webb's "Didn't We") are well-sung, romantically done filler. They keep up the album's romantic mood, but lack the drama (and bombast)of the Streisand/Williams originals. Better to hear "Wonderful, Wonderful" and even the hokey "What Would My Mary Say?" for the jazz singer Johnny Mathis might have become but (fortunately, for him and us), did not. A classy set, and highly recommended

There can never be enough romance. The beautiful music and incomparable of delivery of Johnny Mathis confirm romance will never die. This collection has so many beautiful songs that still tug at the heart strings. His sound has endured beyond many of the pop singers of his day and many subsequent singers. This is a great tribute to a great vocalist

One song alone makes this CD a worthy purchase for me, and that's "When Sunny Gets Blue"...I could listen to it every day and never tire of it! Just one of the prettiest songs ever recorded, and Johnny's version of "Misty" is also about as lush and romantic as you could ever hope for. Some of the songs are dated and skippable, but these two will never go out of style!

I'm crazy about bossa nova, and like many hardcore bossa lovers, I can't really get into Astrud Gilberto's voice. When she sings in Portuguese it's alright, but hearing her in English just annoys me and brings out the fact that she really can't sing all that well. If you truly lover bossa nova, stick to Joao Gilberto, Baden Powell, Luiz Bonfa, and Jobim.

The first time I heard this album, I was absolutely hooked! The combination of Astrud Gilberto's soft, alluring voice and the masterful orchestrations of the late Gil Evans is altogether amazing. It seems impossible that such lush, soaring harmonies in the brass section could possibly enhance the intimacy of Astrud's voice, but here, the impossible is accomplished. I highly recommend this album!

Why does American Sony repackage the same songs with different covers and offer some few tracks to attract buyers? I do not take it as honest as a market strategy should be. Browse back to Mathis originals and buy other CDs: "Johnny Greatest Hits", "Johnny" are good bets.

This man has an elegance in his tone and the way he presents his music. He has been so good at just singing the heart into a song when you need music with style, class and feeling this is a must have. He sounds even better today than before. If hegot solid material then folks would really have to worry cuz the guy can still phrase.

This is very good compilation of Johnny Mathis finest songs. It would be better if the Live Version is replaced by the Studio Version. Also, this compilation should include Gina. So, this album is great but not ultimately great.

Sure, the music is great, and it's great to finally hear the 1986 "Brazil." Unfortunately, this stuff has appeared in so many compilations that it's not necessary. And every time a new album comes out the price goes up! Please Columbia, the masters of repackaging repackaged material, let Johnny make new albums.