– Exposed to this album through a clip posted on YouTube, I became hooked enough to seek it out on Amazon. Awfully glad I did ’cause I’ve never heard Julie London sound better. I’ve reviewed a “greatest hits” here before, but it wasn’t until I explored this complete theme album that I truly became impressed with this auburn-haired siren. The Bud Shank Jazz Band backing up Ms. London on this record almost steals the show. Bud Shank’s alto sax & flute openings on several of the songs take you much deeper into heavy jazz territory than they would have taken you on the back of just Julie’s pipes. There’s a crisp New York bohemian Jazz style that permeates this record, thanks to Shank’s orchestration. This is almost a jazz album with vocals, but London’s smoky voice shines under moonlight, and this is her album. Just a perfect record for the cooler months, this one belongs on your hi-fi just as soon as it’s cardigan time. Songs include Get Out Of Town, Easy To Love, and At Long Last Love.

– I just can’t help it and have decided that yes, indeed, I’m going to roll out Sinatra a little more than I once promised. His albums were and are a great influence on my love of classic cocktail culture, and this record, recorded back in 1957 as a supposed follow-up to his well -received Songs for Swingin’ Lovers, is special. With Nelson Riddle conducting the full orchestra, Sinatra just sounds so on top of his game here. This album let loose at the top of the Sinatra comeback. Joyful, finger-snappin’ sophistication is how I’d describe it. You can well imagine that this record played on and in neighborhood bar juke boxes and living rooms on Saturday nights as it should have. Heavy brass & jazz horns wrapped around The Voice. Songs include If I Had You, I Won’t Dance, and The Lady Is a Tramp. .

– Rockabilly swing — how appropriate to blow your mind as you sip your tiki cocktail. I like this ode to the 40’s alot and will play it deep into a weekend night instead of putting on a pot of coffee. I’ve neglected this genre, and I’m sorry, so let’s forgive & forget as I roll out this big gun that sorta’ started the 80’s foray into rocking swing music shared by Big Bad Voodoo Daddy & Squirrel Nut Zippers. Setzer’s guitar shares the voice on this record with thick, brass-backed licks dancing under the same spotlight as Brian’s whiskey voice. No one better be smooching on the sofa or having a heavy convo when the needle drops on this one. This’ll blow the ice out of the glasses and get your guests up off their feet. Pool tables & poker will fit right in. Tight licks and recognizable, accenting orchestration make this album really soar under its tattooed skin. Fine and dandy is the bottom line, and an album that fits right on in with the knotty-pine basement bar. Songs include This Old House, Since I Don’t Have You, and Jump, Jive an’ Wail.

– Post-goofy novelty ditties, but pre-maternal snoozers, this album collects the Rosemary songs recorded early in her career that showcased her band singing chops. Working with orchestrations from Duke Ellington and Benny Goodman, Clooney apparently longed to demonstrate her skills as a more sophisticated singer and did so for Columbia Records. She sang these tunes in Seventh Heaven, and you can hear it. Gone is the “aww shucks” Clooney, and what we have here is a great 50’s collection from a top-notch jazz interpreter. This isn’t the White Christmas nor C’mon To My House Rosemary Clooney. This soft voiced balladeer, I believe, was truly in her element. Sure, it’s a collection which I normally steer clear of, but this record is a singer’s collection of challenging standards. She also worked w/ Nelson Riddle, Percy Faith and Paul Weston on these songs, so the proof’s in the pudding. This is cocktail music, and Rosemary Clooney proves herself as more than Bing Crosby’s movie girlfriend in this collection. Songs include Goodbye, Come Rain or Come Shine and Together.