Vocalists — All Formats  

Ann-Margret at her grooviest – singing the super-groovy theme from The Swinger – perhaps her greatest film appearance ever! There's a mod bounce to the album that goes way way beyond any of Ann's other albums of the period – thanks to arrangements from Marty Paich, Quincy Jones, and Johnny Williams – all of whom put a nice sort of lilt in the backings, and manage to capture Ann at her sexiest. The title tune "The Swinger" is worth the price of entry itself – as it's a catchy, guitar-twanging number delivered in an incredibly breathy mode – supported by 2 great instrumentals from the film as well, "Swinger's Holiday" and "Kelly's Dance". But even on more conventional numbers, Ann's got a great sound here – bringing whole new sexy life to tracks that include "I Wanna Be Loved", "By Myself", "I Just Want To Make Love To You", "More", and "Cute".

The dreamy vocals and exotica arrangements of Exotic Dream by singer Ethel Azama and the "primitive" sounds of Mganga! by Tak Shindo – back-to-back in a single set! Ethel is a Hawaiian native jazz and cabaret singer from the 50s onward, gamely rolling with the exotica style of the time for this, her first LP – a nice mix of material that ranges from dreamy jazz pop with exotica flourishes, to more percussive gems. There's lots of vibes in the arrangements, which is something we never complain about, and the titles include "Two Ladies In De Shade Of De Banana Tree", "Shady Lady Bird", "Green Fire", "Speak Low", "Mountain High, Valley Low", "Nightingale", "Lazy Afternoon", "Autumn Leaves" and more. Tak Shindo turns in some of his best work ever on this "primitive" album of percieved jungle music – rawly rollicking percussion, eerie wordless vocals, effective use of woodwinds, replicated nature sounds and other evocative touches! Titles include "Mombasa Love Song", "Safari To Kenya", "Nyoba Festival", "Mganga!", "Mwanza Market Palce", "Port Of Trinkitat" and more. 24 tracks in all!

In case you've been thinking "they don't make 'em like that anymore", think again – because Jill Barber delivers a sweet set of vocal numbers that take us back to the best crossover years of the late 50s and early 60s! The style is jazz overall, but Barber works in a tightly syncopated style of singing that also has a keen ear for pop as well – a blend that's a bit like styles used by 60s singers like Connie Francis or Brenda Lee – particularly the latter, as there's sometimes a slight, very slight, twang in the vocals. But even better – something those 60s singers never gave us – all tunes here are originals by Jill, many co-written with Les Cooper, who does a beautiful job handling production and overall orchestrations with just the right vibe for the tunes. US release features more tracks than the original Canadian release – and titles include "Be My Man", "Never Quit Loving You", "Chances", "Tell Me", "Old Flame", "A Wish Under My Pillow", "If It Weren't For Loving You", and "All My Dreams".

Wonderful early work from Madeline Bell – a great singer with a sound that's equal parts American soul and British 60s female pop! The recordings on the set are from Madeline's earliest years in the UK – long before she achieved greater fame on crossover rock recordings, at a time when she was just stepping off an early career in gospel, where she'd crafted some great recordings on Vee Jay with Alex Bradford. The sound of the album is wonderful – arranged to production by Arthur Greenslade, and produced by Johnny Franz with the same pop genius he brought to Philips work by Scott Walker and Dusty Springfield. The CD features the full tracks from the Poppin album, plus a number of contemporary singles – for a total of 20 tracks that include "Picture Me Gone", "Beat The Clock", "Can't Get Used To Losing You", "Didn't Want To Have To Do It", "Soul Time", "I'm Gonna Make You Love Me", and "You Won't See Me".

Warm backings from Marty Manning – and a set that really has Tony Bennett coming into his own for the 60s! Titles include the classics "I Wanna Be Around" and 'The Good Life" – plus "Once Upon A Summertime", "If You Were Mine", "Someone To Love", and "Quiet Nights".

Extremely strange work from Rae Bourbon – a female-impersonating entertainer who was received a famous early sex-change operation! The album has Rae speaking her way over a set of musical numbers and monologues – talking about his gender change, wants, wishes, desires, and other proclivities! The album's surprisingly charming – and Rae talks in a campy voice that's very much along the lines of the one that Lenny Bruce would use when he was putting on a limp wrist. Piano tinkles through most tunes, and titles include "Let Me Tell You About My Operation", "Around The World In 80 Ways", "Don't Call Me Madam", and "You're Stepping On My Eyelashes".

Easily one of the best Ray Charles albums on ABC – if not one of the best Ray Charles albums of all-time. Ray's in his C&W mode here, but it's a bit more restrained than on other LPs, and is replaced here by a sophisticated style that works perfectly with his heartbreaking voice. Proof that Ray knew what he was doing when he said that he didn't want to cut any more crazy R&B records! Titles include "Teardrops From My Eyes", "Cry", "A Tear Fell", "You've Got Me Crying Again", and "I Cried For You".

One of the hippest takes ever on the Porgy & Bess score – done in duet format by Ella Fitzgerald and Louis Armstrong, in a fuller spirit than their other albums for Verve! Like many late 50s albums of Gershwin's score, this one was issued in advance of the film with Sidney Poitier – but unlike most, this is less of a cash-in affair, and really takes Gershwin's music on its own – serving it up with that newly serious style that Verve was hitting with some artists, especially Ella, in the latter half of the 50s. Most tracks have relatively full backings – strings and jazz orchestrations – and the double-length set features 15 tracks that include "Buzzard Song", "I Got Plenty O Nuttin", "My Man's Gone Now", "I Wants To Stay Here", "Summertime", "It Ain't Necessarily So", "What You Want Wid Bess", "There's A Boat Dat's Leavin Soon For New York", "Oh Lawd I'm On My Way", and "A Woman Is A Sometime Thing".

US issue of a session that was also floating around on MPS. 4 long tracks of moody spacey jazz, most with vocals by Mark Murphy, who gets very deep and wandering, and blends in with the instruments in a rich, warm way. Includes the great track "Space A La Mode", a nice slow electric builder, plus "Power Of A Smile" and "Sudden Senility". Great stuff.

Kind of a dream combination in one little album – especially if you dig breezy bossa from the 60s! Back in 1966, Verve Records got the great idea of teaming up its (then) biggest Brazilian imports – vocalist Astrud Gilberto and organist Walter Wanderley – both of whom were selling plenty at the time! Astrud's lovely vocals are matched beautifully with the lean, rhythmic bossa grooves of Wanderley's trio – and the result is a record that's near-perfect in execution. Most of the tracks are quite short, as is the record itself – but it's a perfectly concentrated dose of the Verve bossa sound at its best, with tracks that include "Portuguese Washerwoman", "Tu Meu Delirio", "A Certain Smile", "Call Me", "Here's That Rainy Day", "A Certain Sadness", "It's A Lovely Day Today", and a vocal version of Wanderley's big hit "Summer Samba", redone here as "So Nice"!

One of the rarest Lee Hazlewood albums ever – a mid 70s set recorded for Polydor in Sweden, and one that represents a really unique chapter in Lee's career overseas! At times, the album's got a very strong country feel – more so than even other Hazlewood records, which always had a bit of twang – yet at other points, the record moves into more familiar vocal work – recalling some of the modes that Lee had laid down on his best work of the late 60s. Not all songs are originals, but Lee definitely makes all the music his own – and the arrangements by David Whitaker and Lars Samuelson move around in good ways to match the spirit of Hazlewood's mood on each tune. This reissue features some really great notes – filled with the kind of personal recollections that make Lee's life seem like it was always a blast to live – and titles include "The Rising Star", "Come On Home To Me", "It's For My Dad", "Paris Bells", "Hello Saturday Morning", "Wait Till Next Year", "LA Lady", "I've Got To Be Moving", "Mother Country Music", and a great version of "It Was A Very Good Year".

An amazing record from the young Lee Hazlewood – recorded in the years before working with Nancy Sinatra, and done with a very hip edge that stretches way past its date of origin – to a time ten years later, when the LA scene would be in the midst of a fascination with country and roots music! Hazlewood is the lost link in that tradition, and this album is key proof of that fact – served up with a mixture of warmth, cynicism, and just plain wit that was extremely unusual for the early 60s. Lee uses the fictional town of Trouble as the setting for the 10 little story tracks in the album – which are great little songs about love, life, not loving, and not living. The music is deceptively simple, and Hazlewood weaves the songs together with narration that brings the whole thing alive nicely – really showcasing the warmth and wit that makes his music so special. Titles include "We All Make The Flowers Grow", "Six Feet Of Chain", "Trouble Is A Lonesome Town", "The Railroad", "Run Boy Run", "Son Of A Gun", and "Look At That Woman". Rare mono mix, beautifully presented with great sound and loads of notes – and also features a huge amount of bonus tracks too! Bonus tracks include "It's An Actuality", "Forth Worth", "I Guess It's Love", and the incredible promo-only "Lee Hazlewood Autobiography" – which features Hazlewood telling his life story set to his own acoustic guitar playing, with even more wit than on the album – plus two vocal tunes with Duane Eddy – "The Girl On Death Row" and "Words Mean Nothing" – and four more recorded under the name of Mark Robinson – "Pretty Jane", "Want Me", "Can't Let Her See Me Cry", and "I've Made Enough Mistakes Today".

An amazing record from the young Lee Hazlewood – recorded in the years before working with Nancy Sinatra, and done with a very hip edge that stretches way past its date of origin – to a time ten years later, when the LA scene would be in the midst of a fascination with country and roots music! Hazlewood is the lost link in that tradition, and this album is key proof of that fact – served up with a mixture of warmth, cynicism, and just plain wit that was extremely unusual for the early 60s. Lee uses the fictional town of Trouble as the setting for the 10 little story tracks in the album – which are great little songs about love, life, not loving, and not living. The music is deceptively simple, and Hazlewood weaves the songs together with narration that brings the whole thing alive nicely – really showcasing the warmth and wit that makes his music so special. Titles include "We All Make The Flowers Grow", "Six Feet Of Chain", "Trouble Is A Lonesome Town", "The Railroad", "Run Boy Run", "Son Of A Gun", and "Look At That Woman". Rare mono mix, beautifully presented with great sound and loads of notes – and also features a huge amount of bonus tracks too! Bonus tracks include "It's An Actuality", "Forth Worth", "I Guess It's Love", and the incredible promo-only "Lee Hazlewood Autobiography" – which features Hazlewood telling his life story set to his own acoustic guitar playing, with even more wit than on the album – plus two vocal tunes with Duane Eddy – "The Girl On Death Row" and "Words Mean Nothing" – and four more recorded under the name of Mark Robinson – "Pretty Jane", "Want Me", "Can't Let Her See Me Cry", and "I've Made Enough Mistakes Today".

The first-ever album from the legendary Hi-Lo's – a landmark indie debut that went onto transform the sound of vocal harmony in the 20th century! The record's got a subtle brilliance that's hard to catch at first – a way of putting together the tunes that's often only slightly different than some of the group's contemporaries, but which already shows the rich talents that leader Gene Puerling would bring to later vocal experiments with Singers Unlimited in the 70s. As with most of the group's famous records, backings here are by Frank Comstock – perfectly poised on the gentle tunes, and nicely jazzy on the more swinging ones! Titles include "June in January", "Little White Lies", "I Don't Want to Cry Anymore", "She's Funny that Way", "Whatever Lola Wants", "Island of Desire", "You Brought a New Kind Of Love", "Fools Rush In", "Have You Met Miss Jones", "Where Are You", and "You Can't Hardly Get Them No More".

Queen of Soul is right! Heck, on these early albums, Etta practically invented soul – or at least invented a deep soul style of singing that would be taken up by countless other female singers during the 60s, but rarely matched with this kind of brilliance. Straight up beatiful stuff! The arrangements are uncredited, but we think they're probably by Riley Hampton – who did so much of Etta's other wonderful work in the early 60s. The recordings for sure took place at points between '62 and '64, mostly in Chicago, with couple in New York and one in Nashville. One other thing that is crystal clear about the sessions is that she had access to the very best musicians and the best sound possible – all you need is a listen to know that! The album's an all-solid, all-soul record with loads of obscure tunes and not a bit of filler! Titles include "Flight 101", "Bobby Is His Name", "Breaking Point", "Mello Fellow", "Do Right", and "Somewhere Out There". This first ever proper CD release is loaded with excellent bonus material – recordings from the same early-to-mid 60s period – 13 of them "You Got Me Where You Want Me", "Only Time Will Tell", "Pushover". "You Can't Talk To A Fool", "Would It Make Any Difference To You", "Pay Back", "Tomorrow Night", "I Can't Hold It Any More" and more. 23 tracks in all!

A great example of the Kenton powerhouse in action – a 90 minute double-live recording that really set a new standard for jazz sets of its type! The album features a side apiece dedicated to each of the three acts – one by Kenton's orchestra, one by Christy on vocals, and one by the Four Freshmen – the latter two supported by Kenton's group on their own sides, then joining together for a final fourth side that features all artists together. The approach is a great one – very vibrant, and certainly crowd-pleasing – and titles include "Artistry In Rhythm", "My Old Flame", "I Want To Be Happy", "Midnight Sun", "Day In Day Out", "Angel Eyes", and "Love For Sale".

German grooves galore – a host of classic tracks from vocalist Hildegard Knef – a remixed with a 21st Century flavor! Think of this one as a German answer to the Verve Remixed series – as Hildegard's older lyrics are layered amidst some heavy beats, keys, and electronics – hardly the instrumentation used in the original recordings, but at times a surprisingly great setting for her voice. Given the slightly cold quality of Knef's singing, the mix with electronics really works well – and titles include "Ich Schreib Dir En Buch", "Das Jahr 2000", "Meine Lieder Sind Anders", "So Oder So Ist Das Leben", "Heute Morgen War Termin", and "Du Bist Das Salz In Der Suppe".

A very hip album of vocal jazz – recorded by the underground singer Barbara Long, a righteous east coast talent who cut a very small amount of work during the 60s. This set's got Long backed by a small group that includes Booker Ervin, Billy Howell, and Nat Phipps – and Ervin's tenor solos, some of the few he ever played with a singer, are very much in his classic style. The set list features some great obscure numbers – and titles include "Where Is Lonesome", "Largo To Oscar", "Gee Baby", "Swan Lake", "Serenade", and "It's Heaven".

Early work from British vocalist Lena Martell – a full Decca album, plus a batch of rare singles as well! The Someone New set is amazing – recorded with jazzy backings from Johnny Keating, in ways that are quite different than other British girl singers of the time – much more adult, and sophisticated – with a blend of jazz and strings that's completely sublime, and presented here with a really sparkling sort of sound! Lena's especially great at the mellow ballads that dominate the set – tunes served up with shimmering arrangements from Keating, and a style that's kind of a 60s update on 50s modern large group work from the US. Titles include "Comes Love", "Where Is Love", "You're Free", "Something Simple", "Too Soon", "There'll Never Be Another You", "Lost In The Stars", and "I'm A Fool To Want You". The set also features 9 singles – recorded in the years 1964 through 1971 – the latter of which are especially nice, and show Lena really shining in some full, adult pop modes. These tunes include "For The Love Of Him", "I Would Marry Spring", "I'm Going Home", "The World Of A Child", "Now", "It's Another World", and "All Cried Out".

Beautiful stuff – and a record that shows a real maturation in Mina's vocals – a move away from some of the simple pop of the early years (even though that was pretty darn great), and into the territory of an all-adult vocalist with a really wide range! Backings are by Augusto Martelli – who brings a soundtrack-like sophistication to the music – and Mina sings in both Italian and English, the latter of which is really a treat! Titles include "Invitation", "Ebb Tide", "Lunedi 26 Ottobre", "I'm A Fool To Want You", "Caminemos", "I'm Glad There Is You", "Uno", and "Full Moon & Empty Arms".

Oh for the days when you could go to a club and hear a singer like this – peppy, jazzy, but also able to put over a sad and dreamy tune when she wants to. Marian only recorded a few records, and this one's probably her best – a jaunty set of tunes with arrangements by Charles Albertine, Sy Oliver, and Ray Scott. Some tracks are groovy, some sad and lonely, and others have a nice playful feel that keeps the set fresh – and titles include "There's A Time & A Place For Everything", "Give Me The Simple Life", "I'm The Lonesomest Gal In Town", "It Makes No Difference", and "I'll Sing You One Song".

Great work from this solo member of the Paris Sisters – stepping out here in two obscure late 60s albums, plus some rare bonus tracks too! First up is the album Priscilla Sings Herself – tracks that show Priscilla as a surprisingly great songwriter on her own – working in music that goes way deeper than her pop of a few years before, with moody moments and deeper strains that echo some of the hipper singer/songwriter material at the time. Don Peake handles the arrangements, often with gentle orchestrations that work well with Paris' style of singing – on tracks that include "I'm Home", "Stone Is Very Very Cold", "He Owns The World", "My Window", and "Wandering". Next is the rare Priscilla Sings Billie – an unusual take on the music of Billie Holiday, done with a relatively sweet feel overall! Paris is definitely trying for Holiday's tone at times – but her sound is always a bit warmer and airier – almost as if Claudine Longet were doing a tribute to Billie, with a spacious late 60s feel that's almost A&M at times! Backings are by Sid Feller and Don Peake, and players on the date include Jimmy Rowles on piano, Jim Crutcher on bass, John Guerin on drums, and Peake on guitar – plus a bit of added strings. Titles include "In My Solitude", "Girls Were Made To Take Care Of Boys", "Just Friends", "I Love You Porgy", and "My Man". CD is completed by four rare bonus tracks – including "Some Little Lovin Lie", "Twelve Twenty Nine", and "By The Time I Get To Phoenix".

A fantastic album by this obscure vocalist – one of the first in a great run of work recorded by Sue Raney on the west coast scene! This session has Sue sounding a fair bit like Chris Connor or June Christy – often a bit icy, and sometimes sweet – but without some of the fuller modes on her later records. The album's got surprisingly understated arrangements by Billy May that have a nice jazzy edge – and Raney's vocals have all the wistful qualities you might guess from the title and cover! Titles include "A Blossom Fell", "Impossible", "I Get The Blues When It Rains", "My Prayer", "Wanna Laugh?", "Rain On The Roof", and "Blue Tears".

A fantastic album by this obscure vocalist – one of the first in a great run of work recorded by Sue Raney on the west coast scene! This session has Sue sounding a fair bit like Chris Connor or June Christy – often a bit icy, and sometimes sweet – but without some of the fuller modes on her later records. The album's got surprisingly understated arrangements by Billy May that have a nice jazzy edge – and Raney's vocals have all the wistful qualities you might guess from the title and cover! Titles include "A Blossom Fell", "Impossible", "I Get The Blues When It Rains", "My Prayer", "Wanna Laugh?", "Rain On The Roof", and "Blue Tears".

A pair of post Philly International gems from Lou Rawls on Epic – Now Is The Time from '82 and Close Company from '84 – in a single set! Now Is The Time is a solid soul effort from Lou, still working wonders here in the early 80s on a record that stands the test of time surprisingly well! The production doesn't overdo it with period production flourishes, with some sweeping arrangements on some numbers and more of an easygoing vibe on others. Titles include "Kiss Me One More Time", "Let Me Show You How", "Ain't That Love Baby", "This Love" and "Back To You". Close Company features a fair bit of production from Dexter Wansel, in a way that continues the groove from a few years before! The sound's got a smooth, sophisticated feel that works great with Lou's maturing vocals – and the overall feel is right up there with the best classy soul coming out on Epic at the time – work that's really stood the test of the time because it never gave in too much to commercial trends. Titles include "Close Company", "All Time Lover", "In The Middle Of The Night", "Pretty Eyes", "Forever I Do", "Ready Or Not", and "Say It Again". 17 tracks in all on the CD.

The debut album from Trudy Richards – and honestly, maybe the only one we've ever seen from her – but a cooker of a set, thanks to great Capitol arrangements from Billy May! May brings along the nice subdued brassy styles he'd use with Sinatra at the time – maybe a bit more careful about space in the company of Trudy, but a perfect sort of bounce when she really wants to open up. May's sense of compression and swing is perfect for the wide range of Richards' vocals – and really helps keep things strongly in a jazz mode, particularly the leaner late 50s style. Titles include "A Wonderful Guy", "As Long As I Live", "Do It Again", "Love Me", "All Of You", "There's Danger In Your Eyes Cherie", and "Can't Help Lovin Dat Man".

Sultry vocals from Sallie Blair – one of the hipper singers of her generation, and an artist with a sound that's unlike anyone else we can think of! Blair's a bit bluesy, a bit soulful, but ultimately a jazz singer at heart – and her already-cool style gets some sweet extra help on this session from Neal Hefti, who brings a great sense of punch to his arrangements – almost a Basie bounce at points, but with some Henry Mancini touches too – especially in the album's great use of electric guitar and Latin percussion. Most numbers have a slinky, sexy sort of groove – and titles include "That Old Black Magic", "Witchcraft", "Whatever Lola Wants", "Doncha Go Way Mad", "Everything I Have Is Yours", "Early Winter", and "I'm Through With Love".

Always brilliant work from the great June Christy – an album that's got a lot more darkness than you might think from the title and the bright-colored cover! The style is very booze-soaked and sad – with plenty of echoes of the classic Something Cool album – and like that set, this one features sublime arrangements from the great Pete Rugolo – who has a perfect way of shading things in with the dark tones and modern elements that always work best for Christy's vocals! One of our favorite-ever records from June – with titles that include "Let There Be Love", "When Sunny Gets Blue", "I Want To Be Happy", "Imagination", "No More", "Better Luck Next Time", and "The Best Thing For You".

A pair of Patty Duke albums from the late 60s – one of them previously unreleased! First up is Patty Duke Sings Songs From Valley Of The Dolls – a record that definitely draws on the drama of her Neely O'Hara role in the film of the same name – with tunes that have a bit more of an emotive punch than Duke used in previous years. These emotions are sometimes a bit overblown, but that's part of the appeal – as with her work in the film – and arrangements are by Arnold Goland and Hutch Davie – on titles that include "Come Live With Me", "Give A Little More", "Valley Of The Dolls", "I'll Plant My Own Tree", and "Learn To Live With Your Heartache". The second half of the album features the previously unreleased Patty Duke Sings Folk Songs/Time To Move On – an unusual record that has Duke taking on some of the crossover folk sounds of the 60s – but still in a way that's very much in her usual poppy bag. Ernie Sheldon produced, and also wrote a good number of tracks too – originals mixed in with more familiar and traditional titles that come off surprisingly well – thanks partly to the gentler folksy format, which never strains Patty's vocals too much. Titles include "The Housewife's Lament", "Colors", "The Cruel War", "The Best Is Yet To Come", "Time To Move On", and "And We Were Strangers". Also features the unreleased single "I Want Your Love".

Think what you want about Lena Horne – but this is a plenty darn groovy album! Sure, Lena's style is usually a bit classy and uptown – almost so much so that we don't really dig most of her records. But here, she's working in a very groovy style – paired with the great guitarist Gabor Szabo, in a set of sweetly swinging tunes that share many touches with Gabor's grooviest sides for Impulse and Skey in the 60s! Gabor produced and arranged with Gary McFarland – and the pair really transform the sound of Lena's voice, taking her normally-poised vocals and loosening them up with a subtly funky undercurrent. Richard Tee plays some great organ on the set, in a small combo that also includes Grady Tate and Chuck Rainey – and titles include a lot of Beatles covers – like "Rocky Raccoon", "Fool On The Hill", and "In My Life" – plus the cuts "Nightwind", "Watch What Happens", and "My Mood Is You".

Why the heck don't they make records like this anymore? The whole thing's incredibly groovy – a blend of Sunshine Pop and vocal harmonies – put together with a high-art theory, but grooving with some really cool late 60s backings! There's a great drummer in the group who really makes the tunes kick – taking the mixed male and female vocals of the group and working them into tunes that sound way better than the Paul Klee inspiration might make you think. Things actually get a bit funky at times, and even when they don't, the whole album sparkles with the best Sunshine work from the time! Music is by Chuck Mangione and Roger Karshner – who also brings in some sweet electronic touches too! Titles include "Barbaric Classical Solemn", "Fear Of Becoming Double", "Self Portrait", "Long Hair Soulful", and "Pond With Swans". CD features 2 bonus tracks too – "Long Hair Soulful", in both vocal and instrumental versions!

A great little collection of Nina's work for RCA during the late 60s – a mixture of mellower jazzy grooves, folksy soul, and some fuller-arranged styles handled by Sammy Lowe and Horace Ott. Nina's in fine form throughout – singing with a tone that matches the mood on any number – and the overall sound of the work is among some of the hippest she ever recorded, hitting that late 60s period when she was really beginning to break down some boundaries in her music. Titles include "Go To Hell", "I Wish I Knew How It Would Feel To Be Free", "I Want A Little Sugar In My Bowl", "In The Morning", "Day & Night", "It Be's That Way Sometime", "My Man's Gone Now", "Why? (The King Of Love Is Dead)", and "Do What You Gotta Do".

Classics from sassy Sarah Vaughan's Mercury years, including "Misty", "Broken Hearted Melody", "Make Yourself Comfortable", "Autumn In New York", "Moonlight In Vermont", "How Important Can It Be", "Smooth Operator", "Whatever Lola Wants", "Lullaby Of Birdland", "Eternally", "Poor Butterfly" and "Close To You". CD includes six bonus tracks not included on the original LP release.