A ruthless fashion designer steps on everyone in her way in order to reach the top of her profession. Eventually she is forced to choose between her ambition and the man she loves.
Despite the massive talents of vocalist David Coverdale and his supporting cast of musicians (not to mention the unimpeachable resumé of producer Martin Birch), Come an' Get It was another maddeningly average Whitesnake album. A thoroughly boring set that played it too safe and yielded no lasting live favorites, Come an' Get It was competent to the max – in the hands of a debuting artist, it may have qualified as a classic – but for a near-supergroup of such experience and pedigree, it instead smacked of severe underachievement…
A superbly atmospheric John Barry score effectively conveyed the mood of swinging London for this 1965 film by Richard Lester. Usually playing around with variations of the haunting main theme, Barry used vivacious horns, melancholic strings, and above all a groovy jazz organ (played by Alan Haven). A couple of the tracks don't work well in isolation: the vaudevillian "Something's Up!," and the vocal version of the main theme (not used in the film) by mediocre singer Johnny De Little. But overall, it's got a consistently captivating groove, rating as one of Barry's best scores.
Hip-O Select's 2004 compilation Get It While You Can: The Complete Legendary Verve Sessions is not the first time Howard Tate's revered sessions for Verve have reached CD. About ten years earlier, in the summer of 1995, Mercury released the almost identically titled Get It While You Can: The Legendary Verve Sessions, which contained all of Tate's 1966 debut – also titled Get It While You Can – along with five bonus tracks, for a total of 17 cuts.