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The first album by a great singer that you probably never heard of – but who made some very nice records in her day! Sue's got a sad and slightly dreamy style that's in keeping with the hipper side of Capitol Records in the 50s – and she's working here with arrangements by Nelson Riddle that really help pave the way for a strong debut release. There's nothing fancy about the record – just straight vocals with a lightly swinging tone, and a set of strong tracks that include "When Your Lover Has Gone", "Moon Song", "If You Were There", "My Silent Love", "It's Easy To Remember", and "I'll See You In My Dreams".

Stupid title, but a nice little set of grooves that takes material from both Brazilian and American bossa sources – in a manner that's similar to the wonderful Trip To Brazil compilation we've stocked for years! A few of these are sure to be ones you have, but there's also a huge amount of obscurities that are nicely selected and mixed together in a warm wonderful easy groove. Titles include "Lamento" by Nelson Riddle, "Canto De Ossanha" by Bossa Jazz Trio, "Samba De Uma Nota So" by Lalo Schifrin, "Exotique Bossa Nova" by Martin Denny, "Mas Que Nada" by Odell Brown, "Samba Pro Pedrinho" by Pedrinho Mattar Trio, "Berimbau" by Os Cincos Pados, "Chora Tua Tristeza" by Geraldo Trio, and "Cheiro De Saudade" by Os Cobras. 20 cuts in all!

A really unusual album from Rosemary Clooney – recorded with lush backings from Nelson Riddle, in a style that gets past the lighter mode of earlier years! Clooney really opens up in Riddle's company – and hits a mature, adult mode that almost points the way towards directions Morgana King would take in later years. The tunes are all extremely well-chosen – and even the older numbers seem to have a more contemporary feel here, thanks to Riddle's unified arrangements throughout – an overall approach that avoids the "fast then slow then fast" mode that sometimes kept other Clooney albums from sounding like more serious vocal efforts. Titles include "Invitation", "I Wish It So", "Yours Sincerely", "Find The Way", "If I Forget You", "More Than You Know", and "Why Shouldn't I".

A classic collaboration between Peggy Lee and Nelson Riddle – and a record that really set the tone for Lee's famous Capitol sides of the 60s! The groove here is very upbeat – as you might guess from the title – with a bouncing, almost syncopated approach that's definitely Riddle's, but which also hints at some of Lee's more soul-based backings of the 60s from Jack Marshall – those slinky-stepping groovers that would really put her back in front of American ears. Many tunes are older numbers, but they're updated nicely by Riddle's playful backings – and cuts include "Jump For Joy", "Back In Your Own Back Yard", "Old Devil Moon", "What A Little Moonlight Can Do", "Just In Time", "Music Music Music", "Four Or Five Times", and "Ain't We Got Fun".

2 early gems from Shirley Bassey – both albums recorded before her worldwide "Goldfinger" fame, in a mode that's got a lusher, more serious feel! Shirley features arrangements by Geoff Love, and Let's Face The Music has Nelson Riddle at the head of the orchestra – and both of them give Shirley the kind of full backing and rich sound needed to take her voice into some very heady territory! The set features 22 tracks in all, and titles include "Imagination", "All The Things You Are", "Let There Be Love", "All At Once", "For Every Man There's A Woman", "I'm Shooting High", "Hooray For Love", "All Of Me", and "Spring Is Here".