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DUSTY SPRINGFIELD: SISTER OF THE DUST, SISTER OF OUR HEARTS

DUSTY SPRINGFIELD: SISTER OF THE DUST, SISTER OF OUR HEARTS
pleasekillme.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from pleasekillme.com Daily Mail and Mail on Sunday newspapers.

Sunday morning coming down

Singer/songwriter/composer Randy Newman celebrates his seventy-ninth birthday tomorrow. I can only say that he has written some of my favorite songs of love and loss. They have naturally attracted brilliant interpreters. I ll take the songs of feeling and leave the political satire behind. I want to take the occasion to look back on a small slice of his work this morning. We first heard I Don t Want To Hear It

Shelby Lynne - Just A Little Lovin (10 tracks) +Album Reviews

Get your own copy of this album at SwapaCD.com. If you're not yet a member, your first 2 cds and membership are free! All you have to do is post 10 cds you want to get rid of. Visit the site to find a huge selection of music!

Dusty Springfield - Dusty in Memphis (25 tracks) +Album Reviews

Dusty Springfield - Dusty in Memphis (25 tracks) +Album Reviews
swapacd.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from swapacd.com Daily Mail and Mail on Sunday newspapers.

The Complete Atlantic Singles 1968-1971 - Record Collector Magazine

/ 25 February 2021 1200 Views Dusty Springfield’s soul credentials were firmly established when, in April 1965, she co-devised and presented a special edition of the TV pop show Ready Steady Go! dedicated to the thrilling music coming out of Detroit. Subtitled The Sounds Of Motown, it gave key UK exposure to the likes of The Supremes, Temptations, Stevie Wonder, Marvin Gaye and Smokey Robinson. The visitors’ British cheerleader also got to be a Vandella for the night, joining Martha Reeves and mates for lively renditions of Wishin’ And Hopin’ and Can’t Hear You No More. Yet Springfield’s own recorded output of the time remained rooted in more traditional pop melodrama. Occasional torch-like testifying numbers such as I Just Don’t Know What To Do With Myself hinted at something deeper or richer, but for the most part she plied her trade via orchestra-heavy bombast (All I See Is You, I Close My Eyes And Count To Ten, and her sole chart-topper You Don�

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