"Twenty-three songs from the heart-throbs of World War II," proclaims the subtitle of this British compilation, which surveys the distaff singers of the war era on both sides of the Atlantic. The songs, presented in a roughly chronological sequence, do not always refer to wartime subjects; in fact, the lead-off track, Judy Garland's "Over the Rainbow," was recorded and released before hostilities commenced. But the performers are some of the most prominent female names of the day: among the Americans are the Andrews Sisters ...
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"Twenty-three songs from the heart-throbs of World War II," proclaims the subtitle of this British compilation, which surveys the distaff singers of the war era on both sides of the Atlantic. The songs, presented in a roughly chronological sequence, do not always refer to wartime subjects; in fact, the lead-off track, Judy Garland's "Over the Rainbow," was recorded and released before hostilities commenced. But the performers are some of the most prominent female names of the day: among the Americans are the Andrews Sisters, Dinah Shore, and Jo Stafford, among the English are Vera Lynn, Elsie Carlisle, and Anne Shelton. Several of the tracks are actually big band recordings with featured female vocalists, such as "Somebody Else Is Taking My Place" and "The Way You Look Tonight" by Benny Goodman and His Orchestra with Peggy Lee, "I Don't Want to Walk Without You" by Harry James and His Music Makers with Helen Forrest, and "Sentimental Journey" by Les Brown and His Band of Renown with Doris Day. In addition to the recording stars, several women primarily known as film stars are included, notably Garland, Martha Raye, Lena Horne, Deanna Durbin, and Mary Martin. Though a specific war theme is not required for inclusion, many of the songs evoke the war, especially in a sentimental way: "We'll Meet Again," "I'll Be with You in Apple-Blossom Time," "I Don't Want to Walk Without You," "The White Cliffs of Dover," "Say a Prayer for the Boys Over There," "Lili Marlene," "I'll Walk Alone," "Sentimental Journey," "I'll Be Seeing You," and "Goodnight, Wherever You Are." Except for "Boogie Woogie Bugle Boy," the tempos stay slow and the mood dreamy and romantic, which may explain the absence of such timely rhythm numbers as "No Love, No Nuthin'" and "They're Either Too Young or Too Old." The tracks sound like they've been transferred from 78s, and the resulting sound is often hissy and muffled. It's hard to imagine a comparable American compilation drawn from better sources, however, given that the original recordings are owned by such competing major labels as Universal, Sony, BMG, and EMI. (Given that, it's curious that the album is so readily available in the U.S. But we're not complaining.) ~ William Ruhlmann, Rovi
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