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Shirley Bassey|Shirley  (Original 1961 Album - Digitally Remastered)

Shirley (Original 1961 Album - Digitally Remastered)

Shirley Bassey

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Langue disponible : anglais

Shirley Bassey's second album for EMI/Columbia is something of a letdown after her debut, The Fabulous Shirley Bassey. Producer Norman Newell again employs the services of Geoff Love & His Orchestra, who provide rather thick-textured accompaniment that sometimes seems out of sync with the singer's full abilities, which never get used on this LP. Bassey's singing is assured and rich-toned, whether she's doing straight pop or bluesy torch ballads like "For Every Man There's a Woman," and she does plumb some unexpected depths of emotion in a slow, impassioned "I'm in the Mood for Love," on which the orchestra is a little too busy for the good of the singer or the song. Love's accompaniments throughout are rather problematic -- the bandleader evidently favored the use of bongos on some of this repertory, but, as with all instruments with the least bit of exoticism, a little bongos go a long way. Generally, Bassey seems less comfortable with both the songs and the arrangements on this album than she did on her debut, although she does have a few beautiful moments here. This was reissued at the end of the 1990s as part of EMI's anniversary series in 24-bit sound.
© Bruce Eder /TiVo

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Shirley (Original 1961 Album - Digitally Remastered)

Shirley Bassey

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1
In the Still of the Night
00:03:23

Cole Porter, Composer, Lyricist - Shirley Bassey, MainArtist - Copyright Control, MusicPublisher

1961 MHR 1961 Pyramid 3 Ltd

2
Let There Be Love
00:03:14

Lionel Rand, Composer - Shirley Bassey, MainArtist - Grant, Lyricist - Copyright Control, MusicPublisher

1961 MHR 1961 Pyramid 3 Ltd

3
All At Once
00:03:33

Shirley Bassey, MainArtist - Copyright Control, MusicPublisher - COCHRAN, Composer - Stern, Lyricist

1961 MHR 1961 Pyramid 3 Ltd

4
For Every Man There's a Woman
00:03:54

Fields, Lyricist - Shirley Bassey, MainArtist - McHugh, Composer - Copyright Control, MusicPublisher

1961 MHR 1961 Pyramid 3 Ltd

5
I'm in the Mood for Love
00:03:18

Fields, Lyricist - Shirley Bassey, MainArtist - McHugh, Composer - Copyright Control, MusicPublisher

1961 MHR 1961 Pyramid 3 Ltd

6
So in Love
00:03:04

Cole Porter, Composer, Lyricist - Shirley Bassey, MainArtist - Copyright Control, MusicPublisher

1961 MHR 1961 Pyramid 3 Ltd

7
If I Were a Bell
00:02:54

Shirley Bassey, MainArtist - Copyright Control, MusicPublisher - F. Loesser, Composer, Lyricist

1961 MHR 1961 Pyramid 3 Ltd

8
There Will Never Be Another You
00:04:24

Shirley Bassey, MainArtist - Harry Warren, Composer - Copyright Control, MusicPublisher - M. Gordon, Lyricist

1961 MHR 1961 Pyramid 3 Ltd

9
Hooray for Love
00:03:13

Shirley Bassey, MainArtist - Arlen, Composer - Robin, Lyricist - Copyright Control, MusicPublisher

1961 MHR 1961 Pyramid 3 Ltd

10
Too Late Now
00:03:40

Shirley Bassey, MainArtist - Lane, Lyricist - Lerner, Composer - Copyright Control, MusicPublisher

1961 MHR 1961 Pyramid 3 Ltd

11
I'm Shooting High
00:02:22

Shirley Bassey, MainArtist - Koehler, Composer - McHugh, Lyricist - Copyright Control, MusicPublisher

1961 MHR 1961 Pyramid 3 Ltd

12
Ev'ry Time We Say Goodbye
00:05:16

Cole Porter, Composer, Lyricist - Shirley Bassey, MainArtist - Copyright Control, MusicPublisher

1961 MHR 1961 Pyramid 3 Ltd

Chronique

Shirley Bassey's second album for EMI/Columbia is something of a letdown after her debut, The Fabulous Shirley Bassey. Producer Norman Newell again employs the services of Geoff Love & His Orchestra, who provide rather thick-textured accompaniment that sometimes seems out of sync with the singer's full abilities, which never get used on this LP. Bassey's singing is assured and rich-toned, whether she's doing straight pop or bluesy torch ballads like "For Every Man There's a Woman," and she does plumb some unexpected depths of emotion in a slow, impassioned "I'm in the Mood for Love," on which the orchestra is a little too busy for the good of the singer or the song. Love's accompaniments throughout are rather problematic -- the bandleader evidently favored the use of bongos on some of this repertory, but, as with all instruments with the least bit of exoticism, a little bongos go a long way. Generally, Bassey seems less comfortable with both the songs and the arrangements on this album than she did on her debut, although she does have a few beautiful moments here. This was reissued at the end of the 1990s as part of EMI's anniversary series in 24-bit sound.
© Bruce Eder /TiVo

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