by Jason Elias Much like then Parrot labelmate Tom Jones, Humperdinck also showed flashes of being a phenomenal singer despite poorly conceived albums and ill-advised song choices. Engelbert Humperdinck reflects the uneven aspects of Humperdinck's talent. Thankfully, this has nothing here a lampoon worthy as "Les Bicyclettes de Belsize." The first track, Burt Bacharach and Hal David's melodically haunting "I'm a Better Man," gets a poignant treatment with Humperdinck's perfect vocals and phrasing. That track, like the better ones on Engelbert Humperdinck, finds tracks that are well suited for him, rather than being popular fare of the day. "A Time for Us" and "Didn't We" have Humperdinck's commitment rising above the ornate and overly theatrical arrangement. Like many pop artists recording in the late '60, Humperdinck had to cover some offerings from Hair or else he would have been thrown out of the business. "Aquarius/Let the Sunshine In" has him singing the famous lines like "And Jupiter aligns with Mars," and oddly enough it suited him. "Café" has him willing to tie one on, haunted by a woman and the place where they said goodbye. Like many of albums of the time, Engelbert Humperdinck runs out of steam due to lack of strong songs. "Let's Kiss Tomorrow Goodbye" and "Winter World of Love" are both ingratiating but also nerve-wracking. The track became a fan favorite. Engelbert Humperdinck does include some potent and polished performances from Humperdinck, but also a lot of waste.