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1 Some of These Days (Brooks)
2 Pennies from Heaven (Burke, Johnston)
3 Baby Face (Akst, Davis)
4 A Good Man Is Hard to Find (Green)
5 Just Because (Robin, Shelton, Shelton)
6 Toot, Toot, Tootsie, Goodbye (Erdman, Fio Rito, Kahn, King)
7 Ballin' the Jack (Burris, Smith)
8 Rock-A-Bye Your Baby With a Dixie Melody (Lewis, Young)
9 Pretty Baby (Jackson, Kahn, VanAlstyne)
10 Side by Side (Woods)
11 Back in Your Own Backyard (Dreyer, Jolson, Rose)
12 St. Louis Blues (Handy)

Brenda Lee's third album was significantly above the average for a pop/rock LP of the era. The orchestrated Nashville production was lush but tasteful, Lee's singing unfailingly committed, and the material pretty strong, even if there was nothing else on the album as strong as its big hit, "I Want to Be Wanted." The record did lean more toward pop than rock, but it was clearly not either Nashville country or straight adult pop, even if by this time in her career she was taking her shots at (and doing quite well with) standards like "Teach Me Tonight." The rock & roll side of her sound was represented by "Love and Learn" and covers of Ray Charles' "Hallelujah, I Love Her So" and Fats Domino's "Blueberry Hill" and "Walking to New Orleans," though she really did better with the ballads. And some of the ballads here are among her stronger material that you won't find on typical Lee greatest-hits collections, à la "If I Didn't Care," "Pretend," and "We Three (My Echo, My Shadow and Me)." It was certainly among the most commercially successful of her albums, reaching number four in the LP charts.
1 When My Dreamboat Comes Home (Franklin, Friend)
2 I Want to Be Wanted (Gannon, Spotti, Testa)
3 Just a Little (Chotas)
4 Pretend (Belloc, Douglas, LaVere, Parman)
5 Love and Learn (Montgomery, Sinks)
6 Teach Me Tonight (Cahn, DePaul)
7 Hallelujah, I Love Him So (Charles)
8 Walking to New Orleans (Bartholomew, Domino, Guidry)
9 Blueberry Hill (Lewis, Rose, Stock)
10 We Three (My Echo, My Shadow and Me) (Cogane, Mysels, Robertson)
11 Build a Big Fence (Taylor)
12 If I Didn't Care (Lawrence)

Like many albums of its time, Brenda Lee's All the Way was a little thin on outstanding non-45 material. A number of covers of recent rock and pop songs ("Kansas City," "Tragedy," and Ray Charles' "Talkin' Bout You") filled out an LP spearheaded by a big hit single, the organ-grinding groover "Dum Dum." Within its limitations, however, it was a pretty good record, and certainly very well produced and well sung. Ronnie Self, who'd written or co-written a couple of her big earlier hits, co-penned what was probably the most outstanding cut other than "Dum Dum," the arching orchestrated ballad "Eventually" -- one of several dramatic orchestrated ballads here, actually. Lee also showed some good tough rock chops on "Talkin' Bout You," and while (again like many albums of the period) the LP seemed programmed to showcase versatility, she sang each and every number -- even the less imaginative selections, like "On the Sunny Side of the Street" -- with nothing less than utter panache. It seems a little strange to apply the adjective "overlooked" to a singer as popular as Lee was at this time, but the album, like so much of her early-'60s work, is further evidence of her underrated skills as a rock and pop singer. And it was appreciated by listeners at the time, the album making the Top 20, even if most of the songs are unfamiliar today even to many Brenda Lee fans.
1 Lover, Come Back to Me (Hammerstein, Romberg) (2:32)
2 All the Way (Cahn, VanHeusen) (3:00)
3 Dum Dum (DeShannon, Sheeley) (2:22)
4 On the Sunny Side of the Street (Fields, McHugh) (3:16)
5 Talkin' Bout You (Charles) (2:34)
6 Someone to Love Me (The Prisoner's Song) (Massey) (2:40)
7 Do I Worry (Yes I Do) (Lordan) (2:04)
8 Tragedy (Burch, Nelson) (2:42)
9 Kansas City (Leiber, Stoller) (2:35)
10 Eventually (Albritton, Self) (2:58)
11 Speak to Me Pretty (Dunham, Vars) (2:13)
12 Big Chance (Burch, Nelson) (2:12)

Brenda Lee's fourth album, Emotions, stayed with the approach she'd used on her previous LP, This Is...Brenda, mixing gorgeously produced Nashville orchestration with a bit of rock & roll and lush pop ballads. While it was the kind of record that could appeal to both kids and adults, it wasn't watered down, as the production on its own was pretty delightful to listen to, matched by the excellence of Lee's incredibly (for a teenager) mature vocals. "Emotions" was the big hit on the record, which also contained its B-side, "I'm Learning About Love," which made the Top 40 under its own steam. Nothing else on the album is too well known to listeners other than serious Lee fans. But there are some good ballads here, particularly "If You Love Me (Really Love Me)," which is nearly on par with her big hits in that style. While the rock covers (the Shirelles' "Will You Love Me Tomorrow" and Ray Charles' "Georgia On My Mind" and "Swanee River Rock") were more on the filler side, Lee still brought commitment to each and every one of her vocals. Also leaning toward the rock & roll side of things was a decent frisky number, "Crazy Talk," co-penned by Mel Tillis, who had a few of his tunes cut by rock & roll artists in his early years.
1 Emotions (Kearney, Tillis) (2:47)
2 Just Another Lie (Suarez) (3:15)
3 If You Love Me (Really Love Me) (Monnot, Parsons, Piaf) (2:36)
4 Crazy Talk (Tillis, Walker) (2:39)
5 When I Fall in Love (Heyman, Young) (2:57)
6 Around the World (Young) (2:20)
7 Swanee River Rock (Charles) (2:07)
8 Will You Love Me Tomorrow (Goffin, King) (2:50)
9 I'm Learning About Love (Innis, Martin) (2:38)
10 Georgia On My Mind (Carmichael, Gorrell) (3:35)
11 Cry (Kohlman) (2:45)
12 I'm in the Mood for Love (Fields, McHugh) (2:47)

1 I'm Sorry (Albritton, Self)
2 Jambalaya (On the Bayou) (Williams)
3 If I'm Dreaming Just Let Me Dream (Singleton)
4 Wee Wee Willies (Lee)
5 Let's Jump the Broomstick (Robins)
6 Weep No More My Baby (Loudermilk, Wilkin)
7 Sweet Nothin's (Lee)
8 Dynamite (Garson, Glazer)
9 That's All You Gotta Do (Reed)
10 Side by Side (Woods)
11 My Baby Likes the Western Guys (Dee)
12 Be My Love Again (Taylor)

Like almost all of Brenda Lee's early albums, Brenda, That's All was a mix of material that seemed designed to highlight her versatility. Pop music was at the center, but there were various shades of country, R&B, and the adult pop market. It's not a scintillating record, but it's pretty good, in part because it avoids the overemphasis on adult pop standards that hurt some of her LPs from the period. "Fool #1" and "You Can Depend on Me" (which had actually been released as singles the year before most of the sessions for Brenda, That's All took place) are the only hits, but there are some good tracks here, whether the buoyant "I'm Sitting on Top of the World," the bluesily arranged "White Silver Sands," the orchestrated country-pop of "Just Out of Reach," and the mildly swinging "Why Me?" (co-written by Brook Benton). "Someday You'll Want Me to Want You" is the kind of classy, impeccably produced pop ballad in which she specialized in the early '60s, and sounds like it could have had a chance of being a hit single on its own steam. The whole album is impressively sung and immaculately produced, in fact, in common with much of what Lee recorded under Owen Bradley's direction.
1 Sitting on Top of the World (Chatmon, Vinson)
2 Fool #1 (Fulton)
3 White Silver Sands (Hart, Matthews)
4 Just Out of Reach (Stewart)
5 Sweethearts on Parade
6 It's a Lonesome Old Town (When You're Not Around) (Kisco, Tobias)
7 Organ Grinder's Swing (Hudson, Mills, Parish)
8 Gonna Find Me a Bluebird (Rainwater)
9 Why Me (Kristofferson)
10 Valley of Tears (Bartholomew, Domino)
11 Someday (You'll Want Me to Want You) (Hodges)
12 You Can Depend on Me (Carpenter, Dunlap, Hines)

Brenda Lee had made popular standards a part of her recorded repertoire almost from the time she started making records. But on this 1962 album (known both as Sincerely and Sincerely, Brenda Lee), these did not so much add to her versatility as tilt the LP away from the strengths that had made her so popular in the first place. It wasn't unknown for rock singers to make albums dominated by adult-oriented material in an attempt to broaden their appeal, and Lee could sing this kind of stuff well. The problem was that the record featured almost nothing but these kind of songs, most of them taken at a slow tempo, and none of them rock & rollers (or hit singles, for that matter). As a result, it's one of the more forgettable albums from her prime, of value only to big fans and completists. All that stated, it's not a terrible record, benefiting from Owen Bradley's typically lush-yet-tasteful orchestral production and characteristically committed Lee vocal performances. None of the tracks are outstanding, however, though none are embarrassing and a few are decent, particularly the one up-tempo number, "Fools Rush In." "Hold Me" is also of note, as it's the same song that P.J. Proby would make into a huge British rock hit in 1964, though it's done in a much more conventional slower romantic fashion here.
1 You Always Hurt the One You Love (Fisher, Roberts) (2:43)
2 Lazy River (Arodin, Carmichael) (2:16)
3 You've Got Me Crying Again (Jones, Newman) (2:39)
4 It's the Talk of the Town (Livingston, Neiburg, Symes) (3:17)
5 Send Me Some Lovin' (Marascalco, Price) (2:50)
6 How Deep Is the Ocean? (Berlin) (3:02)
7 I'll Always Be in Love With You (Green, Ruby, Stept) (2:29)
8 I Miss You So (Henderson, Robin, Scott) (2:50)
9 Fools Rush In (Bloom, Mercer) (2:35)
10 Only You (And You Alone) (Ram, Rand) (2:54)
11 Hold Me (Little, Oppenheim, Schuster) (2:33)
12 I'll Be Seeing You (Fain, Kahal) (2:35)

Although All Alone Am I featured a classic 1962 hit single as its title track, like some of Brenda Lee's other early albums, it was unduly weighted toward adult pop standards. This LP alone had "(I Left My Heart) In San Francisco," "Lover," "What Kind of Fool Am I," "Come Rain or Come Shine," and "Fly Me to the Moon," reinforcing the impression that her album market was viewed as being a more mature audience than the more youthful one responsible for buying a high percentage of her smash 45s. The cover of Fats Domino's "All By Myself" is, aside from "All Alone Am I," about the only nod to the more vigorous segment of the pop market that had made her a star in the first place. The bulk of the record, it should be emphasized, is well done, both due to Lee's always committed singing and to Owen Bradley's unfailingly lush production. It even swings, just a bit, on "By Myself," "Lover," and Cole Porter's "It's All Right with Me." But it's on the sedate side, and is one of the less imaginative and interesting of her early albums.
1 All Alone Am I (Altman, Hadjidakis) (2:45)
2 By Myself (Dietz, Schwartz) (2:11)
3 I Left My Heart in San Francisco (Cory, Cross) (2:48)
4 It's All Right With Me (Porter) (2:40)
5 My Coloring Book (Ebb, Kander) (3:50)
6 My Prayer (Boulanger, Kennedy) (2:45)
7 Lover (Hart, Rodgers) (2:16)
8 All by Myself (Berlin) (2:36)
9 What Kind of Fool Am I (Bricusse, Newley)
10 Come Rain or Come Shine (Arlen, Mercer) (2:32)
11 I Hadn't Anyone Till You (Noble) (2:37)
12 Fly Me to the Moon (Howard)

By Request, a Top 100 album for Brenda Lee in 1964, is heavy on ubiquitous easy listening ballads like "Days of Wine and Roses," "Tammy," and "Blue Velvet," but don't pass it over just yet. It also contains four of Lee's hits from 1963: "My Whole World Is Falling Down," "I Wonder," "The Grass Is Greener," and "As Usual," all of which charted in the Top 25. They are also reissued on the two-disc set Anthology, Vols. 1 & 2 (1956-1980), which leaves half a dozen overly familiar adult contemporary songs for your consideration. By Request offers a useful roundup of hit singles for vinyl addicts, but no surprises for completists.
1 More (Newell, Oliviero, Ortolani) (2:04)
2 Days of Wine and Roses (Mancini, Mercer) (2:45)
3 Danke Schoen (Gabler, Kaempfert, Schwabach) (2:35)
4 Tammy (Evans, Livingston) (2:53)
5 Why Don't You Believe Me (Douglas, Laney, Rodde) (2:30)
6 I Love You Because (Payne) (2:46)
7 As Usual (Zanetis) (2:32)
8 Blue Velvet (Morris, Wayne) (2:35)
9 My Whole World Is Falling Down (Anderson, Crutchfield) (1:52)
10 I Wonder (Gant, Leveen) (2:55)
11 I'm Confessin' (That I Love You) (Dougherty, Neiburg, Reynolds) (2:55)
12 Grass Is Greener (Anthony, Mann) (2:25)

Even ardent consumers of Brenda Lee's prolific album output can be forgiven for feeling as though her '60s albums all began to sound the same. That impression only deepened as the decade wore on, but in 1963 Lee's bottomless fund of pop ballads could still seem fresh. Let Me Sing begins predictably enough with a Cole Porter song ("Night and Day") but also includes "Break It to Me Gently" -- one of Lee's greatest '60s hits -- and "Losing You." Bobby Darin's "You're the Reason I'm Living" is the kind of cover material preferable to the traditional pop songs that tended to dominate Lee's ballad albums, but Let Me Sing manages to sound vital where very similar albums failed later in her career. Not surprisingly, Let Me Sing was also Lee's second-to-last Top 40 album.
1 Night and Day (Porter) (2:33)
2 End of the World (Dee, Kent) (3:05)
3 Our Day Will Come (Garson, Hilliard) (2:32)
4 You're the Reason I'm Living (Darin) (2:24)
5 Break It to Me Gently (Lampert, Seneca) (2:35)
6 Where Are You (Adamson, McHugh 2:59)
7 When Your Lover Has Gone (Swan) (2:09)
8 Losing You (Renard, Sigman) (2:28)
9 I Wanna Be Around (Mercer, Vimmerstadt) (2:07)
10 Out in the Cold Again (Bloom, Koehler) (3:08)
11 At Last (Gordon, Warren) (2:18)
12 There Goes My Heart (Davis, Silver) (2:47)

1 Rockin' Around the Christmas Tree (Marks) (2:25)
2 This Time of the Year (Holls, Owens) (2:34)
3 Jingle Bell Rock (Beal, Boothe) (2:08)
4 Strawberry Snow (Lee) (2:29)
5 Santa Claus Is Comin' to Town (Coots, Gillespie) (2:11)
6 Silver Bells (Evans, Livingston) (2:02)
7 Winter Wonderland (Bernard, Smith) (2:56)
8 Blue Christmas (Hayes, Johnson) (2:40)
9 Marshmallow World (DeRosa, Sigman) (2:30)
10 Christmas Will Be Just Another Lonely Day (Jackson, Saymor) (2:26)
11 Frosty the Snowman (Nelson, Rollins) (2:20)
12 Angel and the Little Blue Bell (McRae) (2:53)

1 Dancing in the Street (Gaye, Stevenson) (2:39)
2 Crying Game (Stephens) (2:38)
3 Thanks a Lot (Miller, Sessions) (2:37)
4 Let It Be Me (Becaud, Curtis, Delanoe) (3:04
5 He Loves You (Lennon, McCartney) (2:20)
6 Snap Your Fingers (Martin, Zanetis) (2:54)
7 Wishin' and Hopin' (Bacharach, David) (2:54)
8 Funny How Time Slips Away (Nelson) (3:00)
9 Is It True? (Carter, Most) (2:20)
10 (There's) Always Something There to Remind Me (Bacharach, David) (2:44)
11 Can't Buy Me Love (Lennon, McCartney) (2:04)
12 When You Loved Me (Byers, Tubert) (2:14)

1 It's Not Unusual (Mills, Reed) (2:10)
2 Call Me Inresponsible (Cahn, VanHeusen) (2:56)
3 Too Many Rivers (Howard) (2:46)
4 Who Can I Turn To (When Nobody Needs Me) (Bricusse, Newley) (2:07)
5 Whispering (Coburn, Rose, Schoenberger) (2:20)
6 Stormy Weather (Arlen, Koehler) (3:31)
7 Hello, Dolly! (Herman) (2:20)
8 Unforgettable (Gordon) (3:00)
9 Everybody Loves Somebody (Coslow, Lane, Taylor) (2:40)
10 No One (Pomus, Shuman) (2:43)
11 Truer Than True (Alamo, Tubert) (2:32)
12 Think (Whittington) (2:18)

1 Jambalaya (On the Bayou) (Williams)
2 Dynamite (Garson, Glazer)
3 Bill Bailey, Won't You Please Come Home (Cannon)
4 Sweet Nothin's (Lee)
5 I'm Sorry (Albritton, Lee)
6 Fool #1 (Fulton)
7 Dum Dum (DeShannon, Sheeley)
8 All Alone Am I (Altman, Hadjidakis)
9 As Usual (Zanetis)
10 Too Many Rivers (Howard)

1 Taste of Honey (Marlow, Scott) (2:49)
2 The Good Life (Distel, Reardon) (2:59)
3 Flowers on the Wall (DeWitt) (2:14)
4 Shadow of Your Smile (Mandel, Webster) (2:22)
5 Remember When (We Made These Memories) (Kaempfert, Schwabach) (2:10)
6 Softly, As I Leave You (DeVita, Shaper) (2:40)
7 Bye Bye Blues (Bennett, Hamm, Lown) (2:17)
8 Make the World Go Away (Cochran) (2:30)
9 September in the Rain (Dubin, Warren) (2:30)
10 Rusty Bells (Ahlert, Snyder) (2:26)
11 What a Diff'rence a Day Made (Adams, Grever) (2:23)
12 Yesterday (Lennon, McCartney) (3:15)

"Coming on Strong" was Brenda Lee's last major pop hit, very nearly reaching the Top Ten in 1966. The album of the same name is an underwhelming collection of adult contemporary material with a heavy emphasis on ballads, which became the standard formula for her LPs in the late '60s. Buck Owens' "Crying Time" and Don Gibson's "Sweet Dreams" are presented as torchy pop ballads that highlight Lee's impeccable and wonderfully expressive vocals, although one might wish for a more varied approach. The most unusual selection is a rendition of Stevie Wonder's hit "Uptight (Everything's Alright,)" which Brenda Lee comfortably negotiates. That isn't too surprising considering her obvious R&B influences and vocal similarity to "Little" Esther Phillips. "Coming on Strong" is an excellent single that shows that Brenda Lee could still hit with quality material, but the remainder of the album is too middle-of-the-road in its execution to be fully satisfying.
1 Coming on Strong (Wilkins) (2:00)
2 You Don't Have to Say You Love Me (Napier-Bell, Wickham) (2:53)
3 Summer Wind (Bradtke, Mayer, Mercer) (2:12)
4 Kiss Away (Sherrill, Sutton) (2:52)
5 Call Me (Hatch) (2:30)
6 What Now My Love (Becaud, Curtis, Delanoe) (2:00)
7 Uptight (Everything's Alright) (Cosby, Moy, Wonder) (2:06)
8 Sweet Dreams (Of You) (Gibson) (2:51)
9 Crying Time (Owens) (3:12)
10 Strangers in the Night (Kaempfert, Singleton, Snyder) (2:28)
11 You've Got Your Troubles (Cook, Greenaway) (2:32)
12 Somewhere (Bernstein, Sondheim) (2:04)

Reflections in Blue heralds a significant musical and tonal shift for Brenda Lee. A mature, potently melancholy collection of classic ballads both past and present, the album proved both a creative success and a commercial pitfall, failing to even chart in the U.S. Lee's signature energy and enthusiasm are absent here, replaced by a more adult intensity that burrows deep under the listener's skin. Songs like "I Will Wait for You," "Close to You," and "You'll Never Know" capture the singer at her most moving, transcending the pop and country trappings of her biggest hits to evoke the nocturnal poignancy of Frank Sinatra's landmark sessions with arranger Nelson Riddle.
1 Here's That Rainy Day (Burke, VanHeusen) (3:27)
2 You'll Never Know (Gordon, Warren) (3:11)
3 Baby Won't You Please Come Home (Warfield, Williams) (3:38)
4 Can't Help Falling in Love (Creatore, Peretti, Weiss) (2:30)
5 I'll Only Miss Him When I Think of Him (Cahn, VanHeusen) (3:42)
6 Am I Blue (Akst, Clarke) (4:30)
7 If I Had You (Campbell, Connelly, Shapiro) (4:25)
8 Close to You (Hoffman, Lampl, Livingston) (3:07)
9 Little Girl Blue (Hart, Rodgers) (3:41)
10 I Will Wait for You (Demy, Gimbel, Legrand) (3:30)

Pete Fountain and Brenda Lee met in 1960 at the opening of Fountain's French Quarter Inn jazz club in New Orleans. The two enjoyed an impromptu on-stage jam session that led, eight years later, to For the First Time, a collaboration that pairs Lee's interpretive vocal abilities with Fountain's "Dixiepolitan" clarinet solos. The album deservedly became one of the last Top 100 charters for both artists. Although it is merely good overall, the unique instrumental setting is a welcome departure for Lee, whose late-'60s albums were often easy listening snoozers. Fountain, too, had an easy listening streak a mile wide, so Lee's vocal spots add some variety to melodies that are otherwise nothing new to him, like "Basin Street Blues," "Night and Day," and "Mood Indigo." The album mixes pop and jazz standards with contemporary pop songs like "The 59th Street Bridge Song" and the Association's "Windy," but the jazz-oriented numbers have a more timeless appeal. For the First Time isn't a masterpiece, but it does make one wonder whether Brenda Lee could have gained acceptance in the jazz field. After all, if Teresa Brewer did it...
1 Cabaret (Ebb, Kander) (2:55)
2 There's a Kind of Hush (All Over the World) (Reed, Stephens) (2:40)
3 Basin Street Blues (Williams) (3:59)
4 Windy (Friedman) (2:45)
5 Night and Day (Porter) (2:51)
6 One of Those Songs (Calvi, Holt) (2:36)
7 Mood Indigo (Bigard, Ellington, Mills) (3:28)
8 Can't Take My Eyes Off You (Crewe, Gaudio) (3:10)
9 The 59th Street Bridge Song (Feelin' Groovy) (Simon) (2:45)
10 Anything Goes (Porter) (2:20)
11 I Gotta Right to Sing the Blues (Arlen, Koehler) (3:27)

1 Let It Be Me (Becaud, Curtis, Delanoe)
2 He Loves You (Lennon, McCartney)
3 Why Don't You Believe Me (Douglas, Laney, Rodde)
4 Blue Velvet (Morris, Wayne)
5 Can't Buy Me Love (Lennon, McCartney)
6 Danke Schoen (Gabler, Kaempfert, Schwabach)
7 As Usual (Zanetis)
8 Always Something There to Remind Me (Bacharach, David)
9 Tammy (Evans, Livingston)
10 Dancing in the Street (Gaye, Stevenson)

"Johnny One Time" was Brenda Lee's first country hit in over a decade and the beginning of her commercial "second wind" on the country charts that reached gale force in the mid-'70s. Mike Berniker's production makes the song sound little different from the other straight pop ballads Lee recorded during this period, but "Johnny One Time" had been a minor hit for Willie Nelson a few months earlier, so that made it country enough to cross over. The album of the same name is no different from Lee's typical late-'60s output and in no way foreshadows her coming revival as a country artist. The cover art portrays Lee as a sophisticated pop vocalist, an image that is supported by the material, particularly the several songs with European roots. The Jacques Brel and Rod McKuen composition "If You Go Away" is in a similar cosmopolitan vein, but the cover of the Box Tops' "The Letter" is a bit of a surprise. Brenda Lee is a sadly underrated vocalist who could have gone in any direction she chose; on Johnny One Time she dabbles in various styles, but the prevailing mood is one of adult pop.
1 Johnny One Time (Frazier, Owens) (3:14)
2 Traces (Buie, Cobb, Gordy) (2:46)
3 If You Go Away (Brel, McKuen) (4:44)
4 Bring Me Sunshine (Dee, Kent) (2:21)
5 Help Yourself (Donido, Fishman) (3:40)
6 Let It Be Me (Becaud, Curtis, Delanoe) (2:06)
7 For Once in My Life (Miller, Murden) (2:01)
8 This Girl's in Love With You (Bacharach, David) (3:39)
9 Matelot (Coward) (3:22)
10 Letter (Thompson) (2:01)
11 Walk Away (Black, Jurgens) (4:07)

New Sunrise is an apt title for this album, made in 1973 when Brenda Lee received a makeover as a country-oriented MCA recording artist. The big hits began anew, and Lee spent much of the next three years in the country Top Ten. Two songs from New Sunrise were successful singles: "Sunday Sunrise" nearly made the Top Five, and Shel Silverstein's "Wrong Ideas" performed equally well. Lee is an excellent ballad singer, but after years of churning out serious, often continental, adult pop, it was a breath of fresh air to hear her perform lively material with down-home accompaniment. That said, much of New Sunrise is no different from her late-period Decca recordings, particularly the pop covers like Stevie Wonder's "You Are the Sunshine of My Life." The handful of country songs are a welcome departure; the rest is typical late '60s style Brenda Lee.
1 Sunday Sunrise (James)
2 My Love (McCartney, McCartney)
3 You Are the Sunshine of My Life (Wonder)
4 Must I Believe (Polo)
5 Wrong Ideas (Silverstein)
6 Everybody's Had the Blues (Haggard)
7 Why Me (Kristofferson)
8 We Had It All (Fritts, Seals)
9 Slippin' Away (Anderson)
10 You're My Man Again (Garcia, Holiday)
11 Something for a Rainy Day (McCown)

This 22-song, two-LP set included the bulk of her biggest hits, although it misses somes some significant singles (like "Is It True?"). The two-volume Anthology CD, with nearly twice as much material, is a much better investment.
1 Johnny One Time (Frazier, Owens) (3:16)
2 All Alone Am I (Altman, Hadjidakis) (2:42)
3 Sweet Nothin's (Lee) (2:22)
4 As Usual (Zanetis) (2:33)
5 Dum Dum (DeShannon, Sheeley) (2:24)
6 You Can Depend on Me (Carpenter, Dunlap, Hines) (2:30)
7 Coming on Strong (Wilkins) (2:00)
8 Losing You (Renard, Sigman) (2:30)
9 Fool #1 (Fulton) (2:25)
10 Jambalaya (On the Bayou) (Williams) (2:43)
11 Emotions (Kearney, Tillis) (2:48)
12 Just Out of Reach (Stewart) (2:45)
13 Anybody But Me (Lee) (2:24)
14 We Three (My Echo, My Shadow and Me) (Cogane, Mysels, Robertson) (3:30)
15 Thanks a Lot (Miller, Sessions) (2:41)
16 I Want to Be Wanted (Gannon, Spotti, Testa) (3:03)
17 You Always Hurt the One You Love (Fisher, Roberts) (2:44)
18 Too Many Rivers (Howard) (2:48)
19 My Whole World Is Falling Down (Anderson, Crutchfield) (1:53)
20 Break It to Me Gently (Lambert, Seneca) (2:36)
21 That's All You Gotta Do (Reed) (2:27)
22 I'm Sorry (Albritton, Lee) (2:37)

Brenda Lee may have seemed like an old timer when Even Better was released in 1980, but she was 36 years old — only a few years older than Barbara Mandrell and Dolly Parton. The album contains two of Lee's last major hits, the biggest of which is the Top Ten "Tell Me What It's Like." "The Cowgirl and the Dandy," also a Top Ten hit, explores love across class boundaries in what is practically a rewrite of the Tommy Cash hit "The Cowboy and the Lady." Rafe VanHoy is a major player on the album, contributing several songs and lead guitar, while his wife, country star Deborah Allen, co-wrote "Goodbye Love" with Jim Stafford. The roster of well-known songwriters on Even Better certainly contributed to its success, as did Lee's willingness to tackle adult material despite her perpetual little girl image, as on the mildly lascivious "Do You Wanna Spend the Night." Ultimately Even Better was designed for the contemporary country audience of 1980 rather than the oldies nostalgia crowd, so there is no guarantee that fans of her early music will take a liking to this slick, modern country music.
1 Keeping Me Warm for You
2 Love Ain't Seen the Last of Me
3 You Only Broke My Heart
4 At the Moonlight
5 Goodbye Love (Allen, Stafford)
6 I Wish That I Could Hurt That Way Again
7 Tell Me What It's Like (Peters)
8 Memories for Sale
9 Do You Wanna Spend the Night
10 Cowgirl and the Dandy

1 Broken Trust (Hinson)
2 What Am I Gonna Do
3 Every Now and Then
4 Take Me Back
5 You Put It All Together
6 Staring Each Oher Down
7 Right Behind the Rain
8 Cracker Jack Diamond
9 He'll Play the Music
10 Too Many Nights Alone

Brenda Lee hasn't been treated well by reissue culture -- no remastered albums -- and, excepting the Bear Family box set she deserved (and received), only a few compilations, like this two-disc set from MCA. Fortunately, Anthology, Vols. 1 & 2 (1956-1980) is all most fans will need to appreciate why Lee was one of the most intense performing personalities recording in Nashville, just behind Elvis Presley. But Lee had more power than Presley, and more control as well, and the two ranked nearly even in delivery. (Of course, Elvis received song material of a much higher quality than she did.) Her first hit, "Dynamite," along with "Sweet Nothin's," and "Bill Bailey Won't You Please Come Home" rank with the best country/pop/rocka