by Mark DemingJudy Collins' musical ambitions often seemed to be a bit broader (and her style a shade more theatrical) than most of her contemporaries on the East Coast folk scene of the early '60s, and with her sixth album, 1966's In My Life, she made a clear break from interpreting the favorites of the singer\u002Fsongwriter community into a broader and more eclectic style. While In My Life includes songs by Bob Dylan, Richard Faria, and (gulp) Donovan, it also finds Collins embracing the work of Jacques Brel and Kurt Weill, as well as the Beatles and Leonard Cohen (whose Suzanne and Dress Rehearsal Rag sound more at home with the Europeans than the New Yorkers). Joshua Rifkin's arrangements abandon folky purity, not an uncommon event in the post-Highway 61 Revisited musical economy, but rather than embracing rock & roll in one of its many forms, here Rifkin's backdrops betray a significantly artier approach, with the opening Dylan cover accompanied by flutes and Faria's Hard Lovin' Loser backed with a harpsichord, neither of which is especially effective. Far more successful are the European theatrical tunes, especially Marat\u002FSade, in which Collins delivers a superbly controlled, but passionate, performance, and a splendidly spare rendition of Suzanne that ranks with the finest interpretations of that oft-covered tune. Collins also sounds splendid on Randy Newman's I Think It's Going to Rain Today and even finds something special in Donovan's Sunny Goodge Street. Judy Collins was already an accomplished interpretive singer before recording this album, but In My Life found her widening her horizons and revealing an even greater gift than one might have imagined; for the most part, it's a superb album and still one of her best.