It was on this album that all of the Seekers' varied attributes – including Judith Durham's powerful vocals, the increasingly virtuoso-level playing (especially on the acoustic 12-string) and singing of Bruce Woodley, Athol Guy, and Keith Potger, and Woodley's burgeoning songwriting talent – kicked in at their peak at the same time. The album opens with the title track, a Woodley original that's one of the best folk-style recordings to come out of the British Invasion and also one of the Seekers' (and Durham's) greatest performances, hers and the others' voices, coupled with their acoustic guitars, evoking the sound of bells chiming.
Recorded in 1966, Robert Shaw's Grammy Award-winning performance of Handel's Messiah marks an important turning-point in this work's interpretation, clearly moving away from the ponderous, overly reverential style of early twentieth century renditions and pointing toward the leaner versions of the 1970s onwards, which follow Baroque-period practices. (…) Evenly divided between two discs, this recording of Messiah is complete, and it is preferred over RCA's 1992 excerpt album The Great Choruses from Messiah.
Superb… Szell shows the utmost sensitivity to every facet of the music… His interpretation is backed by flawless playing by the Cleveland Orchestra. – The Gramophone
Waters' The Real Folk Blues and More Real Folk Blues, combined here onto one CD, were not exactly random collections of tracks – the quality was too consistently high for them to just have been picked out of a hat. Still, it was a pretty arbitrary grouping of items that he recorded between 1947 and 1964. In fact, they hail from throughout his whole stint at Chess, virtually; at the time these albums were first issued, though, all of the material on More Real Folk Blues was from the late '40s and early '50s. They didn't exactly concentrate on his most well-known songs, but they didn't entirely neglect them either, including "Mannish Boy," "Walking Thru the Park," "The Same Thing," "Rollin' & Tumblin' Part One," "She's Alright," and "Honey Bee," amongst somewhat more obscure selections. So ultimately, this disc's usefulness depends on your fussiness as a collector – if it's the only Waters you ever pick up, you'll still have a good idea of his greatness, and if you don't mind getting some tracks you might already have on more avowedly best-of sets, you'll probably hear some stuff you don't already have in your collection.