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Mindy Carson, COLLECTION 1946-1960. Running time on each CD-R clocks in at about 2x 72 minutes per. Three neutral stars for the old scratchy records source material and CD-R "manufactured on demand" pressing.
First CD covers her pre-RCA/Victor releases and segues in most of the RCA recordings. The second CD ends the RCA period and runs though most of her 1950-58 Columbia sides. Sound quality is needle drop mastering from records, but here it's OK since it's EXTREMELY unlikely any reissue label will likely ever top this here in the 'States in a singles (78/45s) anthology licensed from the RCA and Columbia Records A&R masters. She was never big enough to warrant a transition to post-1956 Lp artist, though she got a loungy pop album at the end of her Columbia period. There's a lot of surface noise on many of these tracks from period 78s and 45s, especially early on the first CD-R.
I bought it for the Mitch Miller era productions on Columbia, especially for the BIZARRO white rocker dance craze (it never got off the ground) song, "The Fish," which was a six week hit on the lower half of the Cash Box (but not Billboard) charts from early March, 1955. It got full page ad placements in both Cash Box and Billboard magazines. It's so far the ONLY Mitch Miller original rock 'n roll record I've found on the label (who knows otherwise, especially whatever you think of Guy Mitchell flailing around for a hit, any hit, at the end of his Columbia tenure?), and the song was given a cover by Willie Mae "Big Mama" Thornton on Peacock 1650 r&b label! If you enjoy Twilight Zone bizarre white rock 'n roll in the spirit of the Fontane Sisters and Pat Boone, this song alone is worth the price of the set!
Liner notes are good, though apparently only researched from Billboard magazine sources. The set only covers something like half her sides, but is the best and most representative of her very prolific singles' catalog.
Stylistically, Mindy sings in the range and style of period ballad Dinah Shore, mix a bit of Doris Day, but she doesn't really put a lot of personality into the recordings. She sounds like a songbird in a white jazz moody lounge setting in a '40s period B&W B-movie singing mostly generic and unremarkable songs, although maybe a quarter of them are recognizable if you're a fan of the 1945-1954 pop era. Early recordings run to that violins, harps, and moody orchestra ballad pop formula of the late '40s, then she segues into 1950+ white peppy novelty fluff, notably Bob Merrill's schlocky pop confections like "Candy & Cake" and a cover of Arthur Godfrey's early 1950 banned-as-too-suggestive hit, "Go to Sleep, Go to Sleep" (Mitch Miller's first Columbia production on Columbia 38744, ugh!). There are several songs on this set showing (a particular fascination of mine) schlocky Bob Merrill songs, beginning at the end of CD-1 on RCA, plus, of course, the Columbia stuff.
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