What is spectacular dare the juxtapositions and perspectives, in particular once it gets into the late 1960s material. Reviewed by Quinoa1984 10 / 10 A sobering tonic of cotton candy one of Marlon Riggs's triumphs as a documentarianĬolor Adjustment was far greater than I could have expected, and I looked forward to something incisive and in the editing dynamic (just from Black is Black Ain't). Black actors Esther Rolle, Diahann Carroll, Denise Nicholas, and Tim Reid and Hollywood producers Norman Lear, Steve Bochco, and David Wolper reveal the behind-the-scenes story of how prime time was "integrated." Revisiting the programs "Beulah," "The Nat King Cole Show," "Julia," "I Spy," "Good Times," and "Roots," viewers see how bitter racial conflict was absorbed into non-controversial series.-Fiona Kelleghan L-O-V-E (2:30), 28.An analysis of the evolution of television's earlier unflattering portrayal of African-Americans from 1948 until 1988, when they are depicted as prosperous and having achieved the American Dream, a portrayal that is inconsistent with reality. Let's Face the Music and Dance (2:23), 23. I'm Gonna Sit Right Down (And Write Myself a Letter) (2:33), 22. (I Love You) For Sentimental Reasons (2:50), 6. It all adds up to a near-perfect introduction to Cole's Capitol years.ġ. He was criticized for leaving his jazz roots for pop stardom, but it is worth noting how jazz-based and stripped-down most of these sides actually are, and even when orchestration is present, it is never intrusive or overwhelming, and the focus is always on Cole's steady, calm and measured vocals. What's most striking is how uniform everything is, as if it was all drawn from one long recording session, and Cole's rich, warm voice and perfect enunciation never falters. Spanning over 20 years, from 1943 to 1964, The Very Best of Nat King Cole includes most of his biggest hits for Capitol Records, like 1946's "(Get Your Kicks On) Route 66," 1950s "Mona Lisa," 1951's "Walkin' My Baby Back Home" and "Unforgettable," and 1956's "When I Fall in Love" (with its wonderful orchestration arranged and conducted by Gordon Jenkins), although there are some intriguing omissions (1962's "Ramblin' Rose," for instance, isn't included here), but it's hard to quibble after all, Cole charted over 100 pop singles during his career and nothing short of a massive box set could feature them all. This generous anthology, with 28 tracks and close to 80 minutes of music, is one of the best single-disc sets on the market of Nat King Cole's pop side.
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