Dusty Springfield

"Faithful" is the title of Dusty Springfield's planned 3rd album for Atlantic Records, and 7th recorded studio album overall, recorded in the first half of 1971. Two singles from the planned album, "I Believe In You" (b/w "Someone Who Cares"), and "Haunted" (b/w "Nothing Is Forever", a track not intended for the album) were released in the U.S. in the fall of 1971, but failed to chart nationally. Due to poor response from the two singles, and a rumoured falling out with Atlantic executives, Springfield's contract with the company was not renewed, and the planned album was shelved and never given a catalogue number or title.

"White Heat" is the twelfth studio album recorded by singer Dusty Springfield, and eleventh released. It was only released in the United States and Canada. More so than her previous two albums, It Begins Again (1978), and Living Without Your Love (1979), and the non-album single "It Goes Like It Goes" (1980), White Heat was a distinct departure from Springfield's Los Angeles-produced radio-friendly soft rock sound, being closely identified with the new wave, synthpop sounds of the early 1980s.

"Dusty in Memphis" is the fifth studio album by English singer Dusty Springfield. She recorded the album at American Sound Studio in Memphis with a team of musicians and producers that included Jerry Wexler, Arif Mardin, Tom Dowd, conductor Gene Orloff, backing vocalists The Sweet Inspirations, bassist Tommy Cogbill, and guitarist Reggie Young. It featured one of her top-10 UK hits, "Son of a Preacher Man". Although Dusty in Memphis sold poorly when it was first released by Atlantic Records in 1969, the album has since been acclaimed by critics as one of the greatest records of all time and Springfield's best work. The album received a Grammy award in 2001.

"Beautiful Soul" collects tracks from Springfield's 1973 "Cameo" album, along with the entirety of its previously unreleased follow-up "Longing". The "Cameo" tracks are produced by then-hot songwriting team Dennis Lambert and Brian Potter, and they're done in the same pop/soul style the pair employed with the Four Tops at the time. Highlights include "Who Gets Your Love," a mid-tempo teaser that became a modest hit, and a spectacularly soulful version of Van Morrison's "Tupelo Honey." The "Longing" tracks, some of which were to some degree unfinished, are a bit more wide-ranging stylistically. Among the best are the haunting, minor-key "Exclusively for Me," on which Springfield does a lovely impression of its co-author, ex-Zombies singer Colin Blunstone," and "A Love Like Yours," a lesser-known Motown song that she re-recorded for her 1977 album "It Begins Again".

Real Gone Music again proves a godsend for Dusty Springfield fans. In 2015, they released Come for a Dream: The Complete U.K. Sessions 1970-1971 that gathered 17 tracks from From Dusty with Love (A Brand New Me's British title) and 1972's See All Her Faces. Faithful: The Lost Atlantic Album, produced by Jeff Barry, appeared a year later. While A Brand New Me has been pored over for decades by fans and critics, and all but one of these cuts have been released on various compilations, they have never been assembled complete in one volume until now.

"Nothing Has Been Proved" is a song and a single release by British singer Dusty Springfield, written and produced by Pet Shop Boys. The song was the second collaboration between Springfield and Pet Shop Boys, following their UK #2 and US #2 hit duet "What Have I Done to Deserve This?" in 1987. "Nothing Has Been Proved" prominently features an orchestral arrangement by Angelo Badalamenti and a soprano saxophone solo by Courtney Pine. Marshall Jefferson provided a dance mix which appeared on the 12" and CD singles.

See All Her Faces is the seventh studio album by singer Dusty Springfield… It contains a mixture of tracks from different recording sessions… 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.

This is a wonderful collection of Dusty Springfield's hits, though I wonder at the glaring omission of one of her biggest state side hits, "Wishing and Hoping". This twenty one track, value priced CD gives the listener a lot of bang for the buck, though the production values could have been better. It is , however, a terrific overview of Dusty's musical work, as it showcases her versatility and range. Though all but one of the selections were recorded more than a quarter of a century ago, the tracks remains as fresh today as when they was first recorded.