Shirley Bassey sings updated versions of her greatest hits accompanied by the London Symphony Orchestra. This album presents Shirley in a more understated manner than normal ,under the inspired backing of the LSO. It presents an interesting comparison to the original versions of the songs as it gives them a more classical feel. A recommended addition to your Bassey collection, or as simply a collection of memorable songs by one of the great pop divas.

The out of print 1972 CD from Shirley Bassey, And I Love You So, gets two additional bonus tracks on its 2000 re-release, and the more Bassey in the world the better. Her over the top rendition of pianist Jack Dieval's "The Way of Love" keeps the gender intact, as did Kathy Kirby and Cher on their respective hit versions, of a woman singing a song of heartbreak to another woman, only Bassey puts her trademark style on it bringing it into another realm. Chris White includes two lengthy pages of liner notes in the informative eight-page booklet which includes four lovely photos of the queen diva. Perry Como's hit version of the title track, "And I Love You So," a composition from the pen of Don McLean, might've kept this album from getting more exposure, but it is essential Shirley Bassey which her fan base is well aware of…

Long before he'd evolved into a fully-fledged cult figure, Joe Meek was the UK's first fully independent record producer. This unique 2CD set traces his career from his earliest sessions, as a sound balance engineer in the mid-'50s, to his emergence as a major songwriter and hit maker in the early '60s. It includes many of Meek's biggest records, including five UK # 1s by, Anne Shelton, Lonnie Donegan, Frankie Vaughan, Emile Ford and John Leyton, plus several other major million selling hits! Indeed, more than half of the sixty sides included herein were significant UK hits. This set also includes several collectors' rarities, previously unavailable on CD, most notably Gary Miller's unfeasibly-rare 'Moby Dick'. John Fraser's 'Golden Cage' and Geoff Goddard's 'Girl Bride'. If you are looking for what is by far the most interesting Joe Meek-related compilation for years then this is it!

Locked out of the singles charts for the past seven years, Shirley Bassey finally returned with this collection of "contemporary" standards, including her British Top Five single "Something." (Bassey, who first heard the song when Peggy Lee sang it, apparently didn't even know it was a Beatles tune until just before recording it.) To parallel the modern material, Johnny Harris' arrangements add an upfront electric bass and hang-loose drumkit to the heavy strings and brass. Of course, Bassey was never a jazz singer, so she makes the transition from traditional pop to contemporary rock with an ease more comparable to Barbra Streisand than Peggy Lee. There are a few jazzy rock standards ("Light My Fire," "Spinning Wheel," "Something") plus plenty of latter-day show tunes ("Easy to Be Hard," "What Are You Doing the Rest of Your Life,")…

Diamonds Are Forever has undergone a somewhat less significant though thoroughly pleasing expansion with the February 2003 release of the remastered, expanded version. Still mid-priced, the disc features 24 additional minutes of music from the completed film – included is "Gunbarrel and Manhunt," alternating between original John Barry music and Barry's variations on Monty Norman's "James Bond Theme," and the musical accompaniment to various key action scenes, as well as some playful romantic scoring for some of Sean Connery's romantic activities. The main virtue is the improved sound (which greatly benefits Shirley Bassey's finely nuanced performance of the title song) on what was an entertaining and distinctive, if not terribly creative or ambitious score, a somewhat closer relative to Barry's work on Goldfinger and to the exoticism of You Only Live Twice or the bold, near-symphonic scope of On Her Majesty's Secret Service. The annotation is reasonably thorough, although on this occasion it focuses far more on the movie than on the music.

One of John Barry's best efforts, with a particularly striking title song belted out by Shirley Bassey between blasting brass fills, Goldfinger was also the first James Bond soundtrack to hit the number one spot on the U.S. charts (ironically, displacing another United Artists soundtrack, A Hard Day's Night), even as Bassey's performance hit number eight as a single. While Barry effectively expanded his collection of Bond themes with Thunderball (underwater themes) and You Only Live Twice (space themes), Goldfinger was a prime opportunity to lock in some of the action themes that would recur over the next 35 years. Of particular note is the track compiling Barry's cues for the robbery of Fort Knox ("Dawn Raid on Fort Knox"), which provides a slow build so wonderfully agonizing that the remainder of the album, including "The Arrival of the Bomb and Count Down," with its pounding drums and roaring brass, actually serves as stress relief. In February of 2003, Goldfinger was issued in a remastered edition that featured not only significantly improved sound but also added an extra nine minutes of music, contained in four sections of the soundtrack that originally appeared only on the British LP edition.

Known to Americans most for her belting rendition of the theme to Goldfinger, the 1964 edition in the James Bond series (as well as 1971's Diamonds Are Forever and 1979's Moonraker), Shirley Bassey was one of the most popular female vocalists in Britain during the last half of the 20th century. Known as "Bassey the Belter" and also the "Tigress of Tiger Bay," her early career in touring shows and cabaret brought her a recording contract with Philips by the late '50s. After reaching the top of the British charts in 1959 with "As I Love You" and later "Reach for the Stars/Climb Every Mountain," Bassey was tapped to sing the theme song to the third James Bond vehicle. Her voice, brassy and sexy, conveyed the James Bond myth perfectly, and the song became a big hit in America. Though later chart placings in the U.S. were few, she continued to do well in Great Britain, France, and the Netherlands into the mid-'70s.