Matti P As a music listener I have a soft spot for vocal jazz/entertainment/chanson/crooner kind of stuff, preferably orchestrated, dating from the 50's, 60's or the 70's, depending on the artists. In general, if the non-classical music that I listen to predates the year 1967, it's most likely NOT pop/rock (except e.g. Simon & Garfunkel), quite rarely it's instrumental jazz either, it is this particular area I'm talking about. Frank Sinatra and Tony Bennett are IMHO the greatest male artists in this field, and the female entertainment vocalists I have enjoyed include e.g. Dusty Springfield, Astrud Gilberto, Doris Day -- and definitely Julie London whose sensual and sultry "cigarettes-after-sex" voice is a pleasure in itself.

London's career as a vocalist (she was also an actress) started big time in 1955 with the major hit 'Cry Me a River', after which she released albums in a steady pace til the late 60's. Around Midnight is among her best albums, a very rewarding set of orchestrated songs celebrating London's seductive voice.

The Thelonius Monk evergreen 'Round Midnight' sets the tone for this album perfectly. The second track 'Lonely Night in Paris' uses lots of brass and a faster tempo, as if to underline that the album leaning loosely towards the nocturnal theme is not entirely about introspective and moody delicacy. The arrangement in Erroll Garner's classic 'Misty' gives a special role for flute and other woodwind instruments. This must be my favourite interpretation of this famous tune. 'Black Coffee' has been covered by many newer artists too such as Sinead O'Connor (r.i.p.), but the song feels like tailor-made for Julie London. Perhaps it was, I don't know. I like the sensitive saxophone but would prefer to have less of the sharp-sounding brass.

Songs like 'Lush Life' and 'In the Wee Small Hours of the Morning' (the title track of Sinatra's 1955 album) are obvious choices and pleasantly orchestrated here. 'Don't Smoke in Bed' is another heartaching song you couldn't imagine being better performed than by London. The 12-track set of evergreens covers also Irving Berlin and George Gershwin ('But Not for Me'), and closes suitably with 'The Party's Over'.

I have a 2-in-1 CD featuring also Julie... At Home (1959) with intimate arrangements for a small jazz combo, thus being a good pair for this orchestral album.

UNOwen In 1966, Julie recorded a smoky, sultry version of The Mickey Mouse Club March for her Nice Girls Don't Stay For Breakfast album.

In a way, that seemingly incongruous paring was a forerunner to what was to be her last album - both for Liberty, and, in general.

1969's Yummy, Yummy, Yummy - produced, arranged and orchestrated by Tommy Oliver, who discovered Joanie Summers and had worked with a variety of artists including Doris Day, Vikki Carr, Bob Lind and Jefferson Airplane.

With this Julie London album, his arrangements were full and lush, and Julie was every bit the stylist she ever was, but the material was far more contemporary and mainstream than anything she had yet attempted.

As time passed from it's initial release, the album faded, and, was only known of by collectors - of rarities, exotica, etc. I found out about the album in about '92, from Re/Search # 15, Incredibly Strange Music, Vol. 2.

I remember reading of the seeming incongruity of paring Ms. London - with her smoky, intimate voice, and (then) current pop.

WHile it wasn't outright laughed at by the author, it wasn't looked at with anything close to seriousness.

As this was before the internet - and CD's, while they exited, did NOT have a large selection, never mind out-of-print collector's choices, I had to look for Yummy. Yummy, Yummy (Y,Y,Y) on vinyl. Not a problem for me.

When I finally tracked the album down, I remember I was taken aback.

On listening to Louie, Louie, I immediately felt it sounded like a very early version of what would be called 'trance' music.

It begins with a bass guitar, piano opening, followed by a Moog synthesiser and a drum - playing a languorous beat - that goes on, only stopping for the song's vocal break.

I don't want to give a track-by-track overview. I wanted to highlight what is one of the album's main songs, and briefly discuss the album, as a whole.

I don't know whether Ms. London took recording the album seriously, or not. I would guess that, Ms. London - being a consummate professional - gave it her all, whatever her thoughts, and it shows.

I read somewhere (else) a person's one line review. He said: 'who wants to hear a middle-aged woman doing covers?'

I'd answer him by saying, it's irrelevant the person's age. It's their talent, and the end-result.

I think a big problem (that's only gotten worse over time), is people being dismissive of anyone who's not ridiculously young.

It's only with age, that a person's developed their craft - honed it.

Sure, sometimes the end result can be awful.

Yummy, Yummy, Yummy is NOT that case.

I like to think that Ms.London saw a bit of irony in it, but, as I said earlier, she gives it her best, and it's worth it.