C.b. Victoria Dawning Day (1976)

One of the premier postwar vocalists and actresses, with a strikingly pure voice that sums up American music's glamorous era. Doris Day packed four careers into one lifetime, two each in music and movies. The pity is that all most people remember are her movies, from Teacher's Pet (1957) onward, as the quintessential all-American girl, cast opposite such icons of masculinity as Clark Gable and Rock Hudson. She also transposed this following to television at the end of the '60s with a situation comedy that lasted into the early '70s. If most people remember her as a singer, it's usually for such pop hits as "Secret Love" and her Oscar-winning "Que Sera, Sera (Whatever Will Be, Will Be)," which became her signature tune. But before all of that, from 1939 until the end of the '40s, Doris Day was one of the hottest, sultriest swing-band vocalists in music…

Forty-two songs cut between November 1940 and August 1946, and the perfect companion to Bear Family's It's Magic box set – anyone who's been even tempted to own that will have to get this more modestly priced precursor to that material. Day's period singing with Les Brown is, today, regarded with a degree of love and affection reserved for Ella Fitzgerald's era with Chick Webb, or Frank Sinatra's work with Harry James and Tommy Dorsey. Yet Sony Music's own releases devoted to Doris Day and Les Brown spread the music around to several different CDs, and suffered from sound that, today, seems substandard. These newly remastered tracks, offered in chronological order, including one previously unissued song ("Are You Still in Love with Me"), not only display a far richer, warmer sound, but have been presented with the kind of care that is normally reserved for the best parts of a label's catalog – which these sides definitely are. Day's voice during this period (she was 16 when she cut her first sides with Brown) was an astonishingly expressive instrument.

What Every Girl Should Know (1960). When Doris Day entered the recording studio to make her annual LP in December 1959, she was arguably at her peak as a movie star, having seen the release two months earlier of Pillow Talk, the first of the frothy comedies she would make in the late '50s and early '60s. But as a recording artist, she seemed to be in trouble. Since 1957, when both Day by Day and the soundtrack to The Pajama Game, in which she starred, made the Top Ten, she had not cracked the album charts, failing with Day by Night (1958) and Cuttin' Capers (1959). Unfortunately, What Every Girl Should Know was not the album to reverse this pattern. The concept, as expressed in Robert Wells and David Holt's 1954 title song, was the offering of advice to females, much of it, as it happened, written by men…

What Every Girl Should Know (1960). When Doris Day entered the recording studio to make her annual LP in December 1959, she was arguably at her peak as a movie star, having seen the release two months earlier of Pillow Talk, the first of the frothy comedies she would make in the late '50s and early '60s. But as a recording artist, she seemed to be in trouble. Since 1957, when both Day by Day and the soundtrack to The Pajama Game, in which she starred, made the Top Ten, she had not cracked the album charts, failing with Day by Night (1958) and Cuttin' Capers (1959). Unfortunately, What Every Girl Should Know was not the album to reverse this pattern. The concept, as expressed in Robert Wells and David Holt's 1954 title song, was the offering of advice to females, much of it, as it happened, written by men…