Hearing Johnny Mathis perform Barry Manilow's breakthrough hit "Mandy" a dozen years after he tackled Bob Lind's "Elusive Butterfly" is a journey through the years with a consummate adult contemporary artist.

His voice has taken on a more "adult" quality, if you will; his wonderfully naïve pleas have grown up to impassioned heartbreak when his vocal instrument re-envisions pathos during the modulations at "Mandy"'s conclusion.

Manilow may have hit the Top 40 with commercial precision, but Mathis does what he does best -- pours his years in the industry into the intense finale.

An artist from the school of consistency where Eartha Kitt, Shirley Bassey, and Frank Sinatra rule supreme, Mathis is, indeed, one of the greats.

Though his brand of pop mixed with standards has its niche audience, like a fine brandy, those who appreciate his artistry know they can go back to the well and find new treasures on songs like "Nice to Be Around," a complete turnaround from "Mandy." The production is by the books, leaving it up to Mathis to use his heart and soul to direct this ship.

"You're As Right As Rain" continues the journey, another twist in the road on this album, entitled When Will I See You Again.

If the casual fan thinks the album is full of Philly sound knockoffs, guess again.

Producer John Florez and arranger/conductor D'Arneill Pershing align the stars perfectly for Mathis.

"When Will I See You Again" is reinvented -- one voice leading the charge with backing vocals chiming in at the right time.

Where the Three Degrees punched it for all it was worth as a team effort, Johnny Mathis reads the sentiment over a light disco beat with that soul sound that Gamble & Huff manufactured kept to a minimum.

The Platters' "Only You" may seem like a quantum leap away from the '70s compositions that predominate this collection, but the arrangement borders on jazz/pop and fits nicely alongside the other pretty moments here.

While over-production à la Gamble & Huff might have fit this album well, John Florez keeps everything in check so that the Mathis sound rings through.

"Laughter in the Rain" is a nice, uncluttered journey for the older audience, though Neil Sedaka's original, with its sweeping string arrangement, works better.

The same can be said for "The Way We Were" and Helen Reddy's chestnut "You and Me Against the World." No risks are taken; it's simply pure Mathis for fans of Mathis.

The medley of Paul Williams/Robert Nichols tunes, "I Won't Last a Day Without You"/"Let Me Be the One," which leads off side two, is as immaculate as the closing number, "The Things I Might Have Been," making for another very good no-bumps-in-the-road Johnny Mathis release.