In 1968, Dusty Springfield was already an international superstar with 15 hits under her belt for the Philips label when she decided it was time to for a change. What followed was one of the most legendary and momentous label moves in pop music history: Dusty decamped to Atlantic Records, where, under the tutelage of Jerry Wexler, Tom Dowd, and Arif Mardin, she recorded one of the greatest albums of all time, Dusty in Memphis, and scored such indelible hits as 'Son-of-a Preacher Man' and 'The Windmills of Your Mind' before moving on to Philly soul ('A Brand New Me). We at Real Gone Music have closely examined this crucial period in Dusty's career over the years, with three previous releases.

Two CDs devoted to the Springfields is probably a bit much for casual fans. This set could likely have been trimmed to one 70-minute CD, leaving out "Silver Dollar," "Row Row Row" and some of the other lesser material from their first album, although it is strange in an enlightening way to hear Dusty singing the latter, a pre-World War I standard more suited to the likes of Ruth Etting. What's good is that none of the high spots are left out, including "Allentown Jail," the ethereal "Far Away Place," "Silver Threads and Golden Needles" (natch), the delightful "Little Boat" (the best of their international numbers), and the gorgeous, near-British beat style "Come On Home," where Dusty starts to show off some of the soulfulness that would later identify her voice. The notes are well detailed, and the mastering is flawless.

Dusty Springfield De grootste popdiva van Groot-Brittannië, Dusty Springfield, werd als Mary O’Brien geboren op 16 april 1939. Ze was ook de beste blanke soulzangeres van haar tijd en een artieste met een opmerkelijke emotionele resonantie. Haar werk ligt verspreide over de tientallen jaren van haar muziekcarrière. Haar consistente en pure muzikale transformaties zijn ongeëvenaard onder haar tijdgenoten. Hoewel ze een theatraal icoon was met veel glitter en glamour, opgestoken haar en zwarte mascara, bracht haar stem zwoele intimiteit en hartbrekende drang over. Ze bracht haar muziek en boodschap over met een ongekende diepgang en verfijning. Dusty Springfield bracht meer dan tien soloalbums uit gedurende haar succesvolle muziekcarrière.

In the early 1970s, Dusty Springfield relocated from her native England to Los Angeles in an effort to pursue new opportunities in her career and signed with ABC/Dunhill Records. Her 1973 album Cameo showcased Springfield's soulful pop in splendid fashion but failed to generate significant traction outside of Billboard's Adult Contemporary listings. For her sophomore project with the label the following year, Dusty travelled to New York to team with producer Brooks Arthur, renowned for his work with Phil Spector's 1960s coterie of girl singers, For Longing, Arthur chose to frame Dusty in the 1970s singer-songwriter milieu, surrounding her with material from Colin Blunstone ("Exclusively for Me"), Melissa Manchester & Carole Bayer Sager ("Home to Myself"), Janis Ian ("In the Winter"), Stephen Schwartz ("Corner of the Sky"), Chi Coltrane ("Turn Me Around"), Barry Manilow ("I Am Your Child") and others. In many cases, the songwriters themselves contributed directly by playing keyboards on their respective creations at Arthur's famed 911 Studios. Bruce Springsteen was also known to sit in on some of the sessions in admiration.

Britain's greatest pop diva, Dusty Springfield was also the finest white soul singer of her era, a performer of remarkable emotional resonance whose body of work spans the decades and their attendant musical transformations with a consistency and purity unmatched by any of her contemporaries; though a camp icon of glamorous excess in her towering beehive hairdo and panda-eye black mascara, the sultry intimacy and heartbreaking urgency of Springfield's voice transcended image and fashion, embracing everything from lushly orchestrated pop to gritty R&B to disco with unparalleled sophistication and depth. She was born Mary O'Brien on April 16, 1939, and raised on an eclectic diet of classical music and jazz, coming to worship Peggy Lee; after completing her schooling she joined the Lana Sisters, a pop vocal trio which issued a few singles on Fontana before dissolving. In 1960, upon teaming with her brother Dion O' Brien and his friend Tim Feild in the folk trio the Springfields, O'Brien adopted the stage name Dusty Springfield; thanks to a series of hits including "Breakaway," "Bambino," and "Say I Won't Be There," the group was soon the U.K.'s best-selling act.

Ev'rything's Coming Up Dusty is the second studio album by singer Dusty Springfield, released on Philips Records in the UK in 1965. Springfield's 1964 debut album, A Girl Called Dusty, sold well enough to make her Philips Records' top-selling female artist. For this, her second album, Philips presented it in a gatefold sleeve and included extensive liner notes. While including a number of fairly standard "pop" songs, Ev'rything's Coming Up Dusty also saw Springfield venturing more into show tunes like "Who Can I Turn To (When Nobody Needs Me)?" as well as the soul music for which Springfield became so well known for singing. "Doodlin'" and "That's How Heartaches Are Made" were minor hits for Baby Washington, one of Springfield's personal favourite singers. Springfield also included the song "La Bamba", which was a popular concert number for her, though not in step with the general style of the album. The album gave Dusty another chart success peaking at No.6 on the UK Charts and No.4 on the NME charts that following month.

The French label Barclay Records, with which singer/songwriter Jacques Brel was associated for most of the 1960s and '70s, released a compilation of recordings of his songs in March 2004 that differs significantly from this U.S. edition. The French version of Next Brel has 15 tracks to the American 12, but that doesn't mean simply that three tracks have been deleted. In fact, there are six tracks on the French album not found on the American one: "If We Only Have Love," by Dionne Warwick; "Amsterdam," by Anne Watts; "If You Go Away," by Emiliana Torrini; "Next," by Gavin Friday & the Man Seezer; "The Desperate Ones," by Nina Simone; and "Seasons in the Sun," by Terry Jacks (a number one hit in the U.S.). But there are also three tracks on the American album not contained on the French one: "Les Flamandes," by French chanteuse Barbara; "Ne Me Quitte Pas," by Nina Simone; and "My Death," by Scott Walker. The deletions and substitutions make for less repetition of songs on the American album.

In 1968, Dusty Springfield was already an international superstar with 15 hits under her belt for the Philips label when she decided it was time to for a change. What followed was one of the most legendary and momentous label moves in pop music history: Dusty decamped to Atlantic Records, where, under the tutelage of Jerry Wexler, Tom Dowd, and Arif Mardin, she recorded one of the greatest albums of all time, Dusty in Memphis, and scored such indelible hits as 'Son-of-a Preacher Man' and 'The Windmills of Your Mind' before moving on to Philly soul ('A Brand New Me). We at Real Gone Music have closely examined this crucial period in Dusty's career over the years, with three previous releases. But there remains one facet of her Atlantic period which has remained largely untouched: her singles. The Complete Atlantic Singles1968-1971 presents the A and B-sides of all dozen singles she recorded for the label in their original mono single mixes, only eight of which have previously appeared on CD.

"Blue For You", is a compilation that puts together some helpful bits and bobs for the obsessive fan. Not all-encompassing, this collection does have it's strong points although it misses out on her debut solo single "I Only Want To Be With You", it includes her incredible reading of the Burt Bacharach classic "I Just Don't Know What To Do With Myself", and, interestingly, the B-side to that single "My Colouring Book". The collection leaps around the years at one point landing in 1970 for her duet with Tom Springfield, "Morning Please Don't Come" but if you want to have everything, you can excuse the erratic nature to hear some immaculate vocal talent.

In 1990, after almost a decade's absence from the new-release lists and an even longer time away from the charts, Dusty Springfield re-emerged with Reputation. A partial collaboration with the Pet Shop Boys, it proved to be her most satisfying record in 15 years and sold better than anything that she'd released since the '60s. The late-'80s synth pop sound melded perfectly with Springfield's still very expressive, powerful, and soulful singing – Dan Hartman handled the producing chores on four of the cuts, Andy Richards on one, and the album has a unified sound, at once airy and dense, soaring and deep. The best cuts, however, are the five produced (and, in all but one case, written) by Neil Tennant and Chris Lowe of the Pet Shop Boys.

From the very start of her solo career, it was Dusty Springfield’s intention to make records in the style of the black American artists that she admired, both professionally and personally. She recorded her version of a soul song at her first solo session and was still recording soul songs on all of her albums, singles and EPs throughout the 60s and into the 70s. "Dusty Sings Soul" is a long overdue and carefully curated collection of recordings from Dusty’s 60s singles and albums, designed to demonstrate that she was not only the UK’s finest female singer but also its finest soul singer of her era and, for many, of all time. There is no shortage of Dusty compilations out there, but this is the first one to exclusively concentrate on this particular side of this great artist’s work. These are not ‘covers’, in that Dusty never directly covered any record until the original had run its course. Dusty simply recorded songs that she loved herself, and that she hoped her fans would love.

"See All Her Faces" is the 7th studio album by singer Dusty Springfield, originally released on the Philips Records label in 1972. It contains a mixture of tracks from different recording sessions; some tracks were recorded with Jeff Barry for an aborted third album for Atlantic Records, other tracks were recorded for Philips in the UK between April and July 1970 – these came to be Springfield's final recordings with longtime producer and arranger Johnny Franz. Some, such as "Willie and Laura Mae Jones", recorded with Jerry Wexler, Tom Dowd and Arif Mardin, had been previously released as singles in the US. "See All Her Faces" collects many of those tracks, recorded from 1969 to 1971, placing seven of the British recordings on Side A, while Side B comprises tracks recorded both in the UK and the US. As a result, the album has no cohesive sound, but offers many different styles of music. The album boasts eight producers, including Springfield herself. It has been suggested that "See All Her Faces" is best appreciated track by track, rather than as a whole stylistic statement, as her album "Dusty in Memphis" is often praised to be.

The previous volumes in Ace Heard Them Here First series focused on Elvis Presley, Cliff Richard, the Ramones and the New York Dolls. This edition features the original versions of numbers recorded by Dusty Springfield, the UK's premier female vocalist of the 1960s. Dusty's expertise as an interpretive singer prevented her from being viewed as a cover artist and allowed her the luxury of recording the songs of her favourite American performers and writers. The selection spans Marie Knight's Nothing In The World', a super song Dusty recorded on her first LP, through to K.T. Oslin's 'Where Is A Woman To Go', a highlight of Dusty's swansong album. The Marie Knight track makes its CD debut here, along with 'Love Me By Name' by Lesley Gore, 'Packin' Up' by Margie Hendrix and Carla Thomas' 'Every Ounce Of Strength'. Reflecting Dusty's impeccable taste in music, this Ace CD also includes songs by her preferred songwriting teams Goffin & King and Bacharach & David and several great examples from the Motown catalogue. Compilation and notes by Mick Patrick and Malcolm Baumgart.

Following on from the success of NOW That’s What I Call 12” 80s, NOW Music proudly presents NOW That’s What I Call 12” 80s: Extended. We’ve dived even further into the musical treasure trove of the 80s to bring you 45 stunning extended tracks in a 4CD compilation.

Modern Talking, Dieter Bohlen and Thomas Anders just celebrated their 30th anniversary and stormed the current charts with Modern Talking 30. In 1984, with You're My Heart You're My Soul, you created your very own, new and then very special disco sound. They paved the way for Bad Boys Blue, CC Catch, Fox The Fox and others. Now there is Modern Eighties with the best long versions / maxi versions from that time. Of course, the successful productions Made in Germany with Milli Vanilli and Blue System are also included. 100% Eighties Disco on 3 CDs.