- A superb sounding original stereo copy with solid Double Plus (A++) sound or very close to it on both sides – exceptionally quiet vinyl too!
- Bigger and richer, with lovely Tubey Magic and breathy vocals, this Tri-Color Reprise pressing lets us hear Sammy at the peak of his powers performing some of Nat’s most memorable songs
- 4 Stars: “Alongside Cole’s collaborator, Billy May, and notable jazz arranger Claus Ogerman, Davis and company turned in one of the finest and most underrated efforts.”
- You will find amazing Shootout Winning Triple Plus (A+++) sound or close to it on both sides of this original Reprise stereo pressing
- Big and lively, rich and full, no other copy in our shootout impressed us as much as this killer copy
- “Sammy Davis, who is widely acclaimed to be the greatest all-around-entertainment talent of our times, here swings thru an album filled with the greatest songs he’s ever tackled in his entire recording career. The result ? It has to be the greatest album Sammy’s ever recorded.”
- 4 stars: “…[a] dozen-song outing, supported by some irresistible backdrops courtesy of arrangers Jimmie Haskell and Perry Botkin Jr… Sings the Big Ones for Young Lovers primarily consists of well-known covers…”
There are an awful lot of bad sounding Sammy Davis, Jr. records out there. We must have played at least a half-dozen hard, honky, sour sounding copies before we ran into this forgotten gem. (Dean Martin’s albums are the same way; maybe one out of ten sound good and the rest are beyond terrible.) (more…)
One of the most emotionally rich and sublimely enjoyable collections of romantic ballads ever recorded.
Our Hot Stamper pressings are guaranteed to demolish the DCC CD (should you have one laying around, an admittedly unlikely proposition to be sure).
The sound is rich, warm and natural beyond expectation — assuming you’ve suffered through other of Sammy’s recordings from the ’60s, as we have, finding little of merit in the sound. On most of them, at some point in the first track the phony vocal EQ and heavy reverb dashed whatever hopes we might have had for the sound. Soon enough the record would be consigned to the trade-in pile, perhaps to find a home where bad sound is not a deal-breaker (which means pretty much everywhere). For us audiophiles, at least most of the time, it has to be.