Two early calypso albums on Capitol Records – both pretty unique! First up are some of the first-ever recordings by Harry Belafonte – material recorded in 1949, with Pete Rugolo backings that are really amazing – as jazzy and modern as anything Rugolo did for other singers of the time, with only a hint of calypso in the rhythms. Belafonte sounds quite different on the sides than in later years – still with those tremendous vocals, but almost more of a jazz singer at points – which is a really surprising discovery! This aspect's supported strongly by the choice of tunes – which includes "Deep As The River", "Farewell To Arms", "Close Your Eyes", "The Didn't Believe Me", and "I Still Get A Thrill". Next up is a full album of straighter calypso material by Lord Flea & His Calypsonians – but one that also has a bit of a Capitol Records groove! Flea plays acoustic guitar and sings, and percussion is nice and tight – but there's also a fuller sense of space on the record, one that really sets it apart from other 50s efforts of this type – kind of a Capitol clarity that really adds a lot of charm. Titles include "Out De Fire", "Mister Give Me De Rent", "It All Began With Adam & Eve", "Jump In The Line", "Run Run Run", "Love", and "Monkey". CD

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Almost everything soulful at Capitol Records in the mid 60s – packed together in one sweet little place! The set's a winner in a great line of Cannonball Adderley live dates from the time – produced by David Axelrod, and done with that great mix of angular, slightly electric groove the combo was virtually pioneering – thanks to help from Joe Zawinul on electric piano, and Nat Adderley on cornet! Cannon also plays some great soprano sax – an instrument that he was taking off beautifully with at the time – and sets fire to a few great tunes with the instrument. But as if that's not enough, Lou Rawls joins in on vocals on a few cuts, and Nancy Wilson comes in on a few more – and the album alternates singing with instrumentals in a really great way. Titles include two very nice extended tracks by Joe Zawinul – "Rumplestiltskin" and "The Scavenger", both of which are over 10 minutes long, and which have the group stretching out in a nice live vein – and other cuts include "The Scene", "Somewhere", "Sweet Emma", and "Zorba". (Jazz, Vocalists) CD

Tracks include "The Thrill Is Gone", "Time After Time", "Look For The Silver Lining", "Daybreak", "Just Friends", and "My Ideal" – 20 cuts total. (Jazz, Vocalists) CD

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18 great tracks that show Nat's strong ability to handle material as a romantic and ballad singer – not in kind of a weepy mode, but in a sophisticated strong-willed style that was a perfect blend of measured emotion and simmering intensity. Titles include "Love Is The Thing", "Sunday, Monday, Or Always", "Too Much", "For All We Know", "Paradise", "You Stepped Out Of A Dream", "Impossible", and "Let There Be Love". CD

Includes four bonus tracks. CD

CD includes 28 tracks, with music by the early King Cole Trio, plus some nice solo material too! Titles that include "Nature Boy", "Too Young", "Send For Me", "Mona Lisa", "On The Street Where You Live", "Almost Like Being In Love", "Smile", and "LOVE". CD

Swinging vocals from the great Vic Damone – an excellent singer of the show/lounge circuit, represented here by two excellent albums from his Capitol years! On The Street Where You Live features Vic working with Pete King arrangements, in a set of mostly-show tunes – redone by Damone's strong lead vocal, into newer-sounding numbers without the schmaltz of Broadway. The Liveliest is even better – a live set recorded at Basin Street, one that has Vic working before the crowd with all the charm and showmanship that made him one of the best of his game. 23 tracks in all, with titles that include "At Long Last Love", "When Your Lover Has Gone", "You & The Night & The Music", "On The Street Where You Live", "I Left My Heart In San Francisco", "Fascinating Rhythm", "A Lot Of Livin To Do", "Till There Was You", and "Younger Than Springtime". CD

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Two albums from Peggy Lee on one CD. First up is I Like Men! – an obscure album of "guy" songs from the end of the 50s! There's a playful feel to the music that fits Lee's vocals very well – as do the bouncy arrangements from Jack Marshall, who turns out to be one of the best musical partners that Peggy could ever hope for! The set's got that nice jazzy groove that really makes Lee's return to Capitol Records so great – and titles include "Good For Nothing Joe", "Charley My Boy", "Jim", "Bill", and "It's So Nice To Have A Man Around the House". On Sugar 'N' Spice Peggy's sweet as sugar, but working here with a heck of a lot of spice – thanks to arranger Benny Carter, who brings in a wonderfully jazzy feel to the set! The album's one of Peggy's best from her comeback years at Capitol – and a prime example of the syncopated, slinking mode of arrangement that was the best 60s discovery for the Peggy Lee voice – and which allowed her to create a unique space for her own maturing sexuality in pop music. The whole thing's great, and avoids the cliches of some of the other Peggy Lee albums from the time. Titles include "I Believe In You", "Ain't That Love", "The Best Is Yet To Come", "The Sweetest Sounds", "Teach Me Tonight", "Tell All The World About You", and "Big Bad Bill". CD

2 slices of Peggy Lee – one classic pop, one adult contemporary! I'm A Woman was a landmark album in Peggy's career – one that featured some wonderful crossover hits that broke her into a whole new audience in the 60s – and which really helped cement Peggy's relationship with Capitol Records. Benny Carter and Dick Hazard arranged the set with a gentle bouncing swing – still jazzy enough to keep Peggy's sophisticated side in place, but buoyant enough to hit that syncopated groove that was helping singers like Sinatra and Sammy D find new chart success at the time. Titles include "The Alley Cat Song", "I'm Walkin", "Mack The Knife", "I'm A Woman", "One Note Samba", and "There Ain't No Sweet Man". Norma Deloris Egstrom is quite a different album altogether, but equally memorable – as Peggy's working here in that wonderful later style she used at Capitol – a truly adult approach to pop that was less concerned with chart placement than it was with getting over a more sophisticated level of expression. Peggy turned out to be wonderfully well suited for this mode – a deeply emotive singer by this point, capable of bringing a deeper sense of life into younger tunes of the time, fleshing them out with the newer freedoms of the time, yet without going overboard. There's almost a Robert Altman sense of poise and adult grace to these tunes – arranged by Artie Butler with a careful simplicity, and sung by Peggy with some of the truest emotion of her days on record. Titles include "Love Song", "Razor", "When I Found You", "A Song For You", "It Takes Too Long To Learn To Live Alone", "Someone Who Cares", and "Just For A Thrill". CD

Peggy's sweet as sugar, but working here with a heck of a lot of spice – thanks to arranger Benny Carter, who brings in a wonderfully jazzy feel to the set! The album's one of Peggy's best from her comeback years at Capitol – and a prime example of the syncopated, slinking mode of arrangement that was the best 60s discovery for the Peggy Lee voice – and which allowed her to create a unique space for her own maturing sexuality in pop music. The whole thing's great, and avoids the cliches of some of the other Peggy Lee albums from the time. Titles include "I Believe In You", "Ain't That Love", "The Best Is Yet To Come", "The Sweetest Sounds", "Teach Me Tonight", "Tell All The World About You", and "Big Bad Bill". Plus, CD features 3 bonus cuts – including "Amazing", "Loads Of Love", and "I'll Be Around". CD

First up is one of Julie London's strongest overall albums – a great session that features small group backings with a warm and intimate feel! There's less of the languid sadness of some of Julie's other records, and more of the dreamy floating style of singers like Chris Connor or June Christy on this one. The feeling of the album's great, and it shows that Julie was much more than a pop singer with sexy looks and a smoky finish – although we're happy to hear that on here too! Titles include "Let There Be Love", "Goodbye", "You've Changed", "You'd Be So Nice to Come Home To", "Lonesome Road", "They Didn't Believe Me", and "The Thrill Is Gone". Around Midnight's just about the best time to listen to Julie London – especially given her sultry late-night style of singing! This album's one that definitely follows in that mode – setting Julie's vocals to backings by Dick Reynolds – a bit fuller than some of her earliest Liberty albums, but still quite moody, and very much in the best spirit of the album's songs of adult love and loss. The song choices are especially great too – with some key mid-century classics that include "In The Wee Small Hours Of The Morning", "Lush Life", "Lonely In Paris", "Something Cool", and "You & The Night & The Music". CD

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They got that title right, because with decades of performances on the strip, Wayne certainly earned the name of "Mr Las Vegas"! However, Newton oddly never recorded a live album in Vegas during his years working for Capitol – so this collection is oddly one of the few non-live packages in Capitol's Vegas Centennial Collection – and instead features studio work from Wayne's early albums for the label. But that's ok with us, because we love the jazzy pep of these sides – a pop-heavy, playful approach to tunes that follows nicely off Bobby Darin's style at the time – no surprise, as Wayne got a lot of help at the start from Bobby. The package does feature 2 live tracks, but recorded in Hollywood – "You're Nobody Til Somebody Loves You" and "Mack The Knife" – alongside studio tunes "Danke Schoen", "As Long As I'm Singing", "Strangers In The Night", "Wives & Lovers", "More", "Call Me Irresponsible", "LOVE", "I've Got The World On A String", and "Charade". CD

Includes four albums on two CDs – 47 tracks total! CD

One of Louie's greatest albums ever – a hard-swingin batch of vocal group tunes, with all the sound that made him famous! The album was cut at the height of Louie's career back in the 50s – with vocals by Keely Smith on 2 tracks, and backing by the tight combo of Sam Butera and The Witnesses. Tracks include the classic medley of "Just A Gigolo/I Ain't Got Nobody", plus classics like "The Lip", "Nothin's Too Good For My Baby", "Oh Marie", "Jump Jive & Wail", and "I'll Be Glad When You're Dead You Rascal You". CD features 4 bonus cuts – including "Whistle Stop", "Five Months Two Weeks Two Days", "Be Mine Little Baby", and "Banana Split For My Baby". CD

2 Capitol Records gems from Louis Prima & Keely Smith – on a single CD, and with bonus tracks too! Hey Boy Hey Girl is a groovy little soundtrack recording – done for a rare film that starred Louis Prima and Keely Smith, working very much at the height of their 50s Capitol powers! The sound of the album's every bit as great as some of the better-known studio sets by the pair – and like those sets, the record's a mix of the duo's great duet numbers and some excellent solo tracks too – numbers that either have Louis in the lead, or Keely hitting a few warmer, mellower notes. Backings are by Sam Butera & The Witnesses – and titles include "Hey Boy Hey Girl", "Banana Split For My Baby", "Fever", "You Are My Love", "Oh Marie", "Lazy River", and "Nitey-Nite". Swinging Pretty is a classic album by Keely Smith – Louis Prima's one-time wife and classic singing partner, working here on her own! Arrangements are by Nelson Riddle – showcasing Keely as a great singer in her own right, able to work in that sophisticated jazz-based style that you'd find with the best Capitol singers, like Frank Sinatra, Peggy Lee, or Nat King Cole. Titles include "It's Magic", "Indian Love Call", "Someone To Watch Over Me", "Stormy Weather", and "There Will Never Be Another You". Bonus tracks include "A Foggy Day", "Nothings Too Good For My Baby", "The Lip", and "I've Got You Under My Skin" by Louis & Keely – plus "It's Magic", "Don't Let A Memory", and "Don't Take Your Love From Me" by Keely Smith. CD

The last Capitol album from vocalist Sue Raney – and easily the most compelling of the bunch! Sue's in really great form here – shaking off some of the cooler west coast modes of earlier records, and going for a more lively, more fluid style that's sometimes touched with the R&B influences that were creeping into jazz vocals at the time. Backings are by Ralph Carmichael – tightly jazzy, but often with plenty of room for Sue to take over – and there's a really great sense of balance, poise, and power here that far surpasses most of Raney's other albums from the time. Titles include "How About Me", "Burnt Sugar", "Some Of These Days", "Trouble Is A Man", "Don't Let The Sun Catch You Crying", and "Here's That Rainy Day". CD

2 early Capitol classics by Lou Rawls – back to back on one CD, and perfectly paired throughout! Black and Blues is quite possibly the first truly great Lou Rawls album for Capitol – an all-out swinging jazz session done with arrangements by Onzy Matthews, in a mode that firmly helped put the Lou Rawls sound on the map! The tracks are mostly older numbers from a long lineage of blues and R&B – but with hipper 60s touches by Matthews in the backings, Lou really swings the work into a whole new territory – moving older, clunky compositions into more adult, more mature modes that aren't nearly as sad or downtrodden as their roots! Titles include "I'd Rather Drink Muddy Water", "Roll Em Pete", "Kansas City", "World Of Trouble", "Trouble In Mind", "Strange Fruit", and "Six Cold Feet Of Ground". Tobacco Road was a real breakthrough for Lou – a set that again paired him with arranger Onzy Matthews, and which even more deeply explored the unique space between jazz, soul, and the blues that became Rawls' prime territory back in the 60s! Matthews' backings are hip and jazzy throughout – filled with bold horn touches from players that include Lou Blackburn, Curtis Amy, Sonny Criss, and even Horace Tapscott – who's playing trombone here instead of his more familiar piano. Ray Crawford's guitar underscores a good number of the tracks here with that clean, lean, single-note style of his – but Lou is the clear star throughout with his deeply-voiced lyrics of older familiar tunes. Titles include his landmark reworking of "Tobacco Road", plus "Summertime", "Stormy Weather", "Rocking Chair", "Ol Man River", "St Louis Blues", and "Sentimental Journey". CD also features 2 bonus tracks – "When It's Sleepy Time Down South" and the previously unissued "Gloomy Sunday". (Soul, Vocalists) CD

One of the best albums that Lou Rawls cut with the team of HB Barnum and David Axelrod – that incredible duo who made some of his 60s Capitol albums so great! The style here is wonderful – upbeat grooves from Barnum – who brings more soul into Lou's music than before – recorded by Axelrod with the right sort of sharpness and punch – that special quality he brought to Cannonball Adderley's 60s soul classics too! Rawls is really at home in the setting – stepping out in some points with these hip monologue passages that are as great as his singing – maybe even better, too – as they show a whole new side of Lou's personality – that badass, totally hip quality that people might never have expected from the early days. One of the best of these is the excellent "Old Man's Memories", about a guy sitting on a bench in Washington Park on the south side of Chicago, which then rolls into an amazing version of "It Was A Very Good Year". Other tunes have a great mix of soul and jazz – and titles include "Love Is A Hurtin Thing", "A Whole Lotta Woman", "Don't Explain", "Old Folks", and "Breaking My Back (Instead Of Using My Mind)". (Soul, Vocalists) CD

A great small club performance from Nat King Cole – of the sort he never really recorded for Capitol Records, even though this set is right in the middle of his glory days on the label! In some ways, the set hearkens back to Nat's roots – maybe no surprise, as he's back in Chicago – and the combo here features John Collins on guitar, Charlie Harris on bass, and Lee Young on drums – working with Cole to offer up some nicely lean versions of tunes you might know from his fuller, more polished studio versions. The set's a great reminder that at the core, even during the big years, Nat was still a jazzman at heart – as you'll hear on tunes that include "Funny", "Straighten Up & Fly Right", "Nature Boy", "Route 66", "This Can't Be Love", "Somewhere Along The Way", "Mona Lisa/Too Young", "Exactly Like You", "Sweet Lorraine", and "Calypso Blues". CD

The first album in a legendary run of vocal jazz classics on Atlantic Records – and a set that really helped Chris Connor move to a new level of expression in her music! The sound here is much richer than Connor's previous recordings for Bethlehem – and the small combo jazz backings have been replaced by fuller orchestrations by Ralph Burns – done in a cool, edgey sort of way that really pushes Chris into newly sophisticated territory! The sound's on a par with the best June Christy/Pete Rugolo collaborations on Capitol – and the group's filled with some great jazz players, including Zoot Sims, John Lewis, Milt Hinton, and Oscar Pettiford. Titles include "I Get A Kick Out Of You", "My April Heart", "He Was Good to Me", "Where Are You", and "Get Out Of Town". CD

An amazing batch of sophisticated soul tracks – and a favorite with the righteous groove scene! On the surface, the record's a combination of jazz and soul tracks in the same mode that you'd find on some of Nancy Wilson's albums for Capitol during the same time – but digging deeper, you'll find an undercurrent of politics, feminism, and social commentary delivered with surprising intensity. Marlena Shaw's voice is generally sweet, but she's set up in some extremely powerful arrangements by Richard Evans and Charles Stepney that recast even the simplest phrase into a whole new setting of strength and pride – and Bobby Miller of Dells fame also helped make the record what it is, and helped write some of the best songs on the record. The set includes Marlena's classic original reading of "Woman Of The Ghetto", which has been sampled by just about everyone, plus "California Soul", which has a nice hard break, and the tunes "Liberation Conversation", "Where Can I Go?", and the original version of "Go Away Little Boy" – as sweet a statement of womanhood if there ever was one! (Soul, Vocalists) CD

An overlooked gem from the early Reprise recordings of Frank Sinatra – done with full arrangements by Gordon Jenkins, in the moody late nite vibe of some of his late 50s work for Capitol! Titles include "All Alone", "What'll I Do", "When I Lost You", "Oh How I Miss You Tonight", "Indiscreet", "Remember", "Together", and "The Song Is Ended". CD

Frank's first album for his own label – Reprise catalog number 1001 (originally), a number that must have made Sinatra proud! The album's got a really swinging feel that befits the title, and which follows in the best Capitol work by Nelson Riddle. Things are very jazzy and upbeat, thanks to arrangements by Johnny Mandel – and the set list includes loads of great numbers that Frank carries off to perfection! Titles include "Ring A Ding Ding", "The Coffee Song", "Let's Face The Music & Dance", "Let's Fall In Love", "A Fine Romance", and "You & The Night & The Music". Includes 3 bonus tracks – "The Last Dance", "The Second Time Around", and "Zing Went The Strings Of My Heart". CD

Hip vocalist Bobby Troup pays tribute to another fairly hip LA songwriter – the great Johnny Mercer, the man who helped to build Capitol Records in the late 40s! Mercer's tunes really helped pave the way for some of Troup's own writing – and Bobby's cool, laidback style makes the numbers sparkle even more than in any of Johnny's originals – a bit less hoke, and a lot more jazz. Part of that aspect also comes from the presentation – which has Troup working with west coast players who include Howard Roberts on guitar and Bob Enevoldsen on trombone – a lineup that gives the album a warm jazzy swing throughout. The set includes a nice version of "I'm With You", which Troup wrote with Mercer – plus classics like "Midnight Sun", "Cuckoo In the Clock", "Skylark", and "One For My Baby". CD

Spanky Wilson really takes off here – hitting some of her boldest soul modes to date – and serving up a few funk-heavy classics in the process! Production and arrangements are by HB Barnum – who draws on his own rich legacy of soul projects for the set, and finds a way to let Spanky really knock things out of the park – while still also holding tight to a mighty sweet groove! The style's almost an indie soul take on the Capitol Records groove that Barnum forged with David Axelrod for other singers – with all the strong sense of space between the grooves that would imply. The set features Spanky doing nice hard grooving versions of tracks that you've heard before – like "Loveland", "Let It Be", "Gloomy Sunday", and "Perhaps" – but there's also some nice ones like "Foolish" or "Love or Let Me Be Lonely", that are less familiar, and mighty nice too! (Soul, Vocalists) CD

Jerri Winters gets some hip backings here – thanks to help from the Al Belletto Sextet, who almost share the star spotlight on the record as much as Jerri! The combo are perhaps best known for their 50s work on Capitol, but they sound equally great here – stepping out with a tight sound that must have made them a great act to catch live in a club! And in addition to the combo's instrumentation – which includes alto sax, piano, trombone, and trumpet – the group also harmonize a bit behind Jerri's vocals – supporting her with a sound that's sort of a groovy 50s update on the older 40s mode of matching a female lead with a male harmony group. Don't let all this praise of the Belletto group take away from Winters, though – because she steps out strongly too – and really makes the album sparkle with a personal take on some lesser-remembered standards. Titles include "In Other Words", "Crazy In The Night", "Kind Of Moody", "Ridin On The Moon", "Dark Shadows", "Sometimes I'm Happy", and "It's Always You". CD