Categories :

Similar artists



Pop/Rock - Released April 11, 2003 | BMG Heritage

Ultimate Petula Clark is a 21-track collection of British songbird Clark's biggest hits and best songs from the early '60s through the early '70s. Her sophisticated and warm voice was the perfect instrument for the songwriting talents of Tony Hatch and Jackie Trent; many of the songs here are written and produced by the underrated Hatch. The collection leads off with her biggest hit, "Downtown," and includes great songs like "I Know a Place," "Call Me," "Sign of the Times," and "Don't Sleep in the Subway." She split with Hatch in the late '60s and some of the songs she recorded after the split are here: "Kiss Me Goodbye," "The Song Is Love," and "Neon Rainbow," a great track from Memphis, the oft-overlooked classic record that she cut with Chips Moman in 1970. Along with the great music and a very generous track listing, the collection boasts remastered sound and extensive liner notes, making Ultimate Petula Clark the best single-disc Petula Clark disc on the market. © Tim Sendra /TiVo

French Music - Released November 18, 1966 | Vogue

It's doubtful that any future singer will ever record as many songs as Petula Clark has in her career -- the number of just her English language recordings is many hundreds, and then there are the many hundreds more of French-language discs, and that doesn't end the list. C'est Ma Chanson is a collection of 18 of her better French language songs, done for the Vogue label between 1961 ("Romeo") and 1967 ("C'Est Ma Chanson"). The amazing thing is that she doesn't sound like the same singer that exploded out of England during this period; whether emoting to the boundless passions of "Chariot" (better-known in America as "I Will Follow Him") or turning in a torch-song version of "Needles and Pins" (here sung as "La Nuit N'En Finit Plus"), she has a completely different enunciation here than she does on her English recordings for Pye Records from the same period. Much of the material ("Elle Et Finie," "O O Sheriff" etc.) is more closely associated with France than America. Whatever the origins of the material, Clark throws herself into it with a bracing, vibrant abandon that is even more startling than the power she brings to her English-language material. Highlights include a stunningly sensual rendition of "Petite Fleur," but Clark even acquits herself decently on potentially lethal numbers like "Hello Dolly." "Downtown" also shows up here, incidentally, as "Dans Le Temps," sung differently enough to make it worth hearing. © Bruce Eder /TiVo

Pop - Released December 1, 2017 | BMG Rights Management (UK) Limited


Pop - Released September 29, 2014 | Sanctuary Records


Pop/Rock - Released April 22, 1996 | Vogue


Rock - Released March 22, 2019 | CLASSIC WORLD ENTERTAINMENT


Pop/Rock - Released July 22, 1997 | Buddha Records

Although it's a little skimpy at 12 tracks -- especially compared with GNP's import The Greatest Hits of Petula Clark, which features 16 cuts -- Buddha's Downtown: The Greatest Hits of Petula Clark is nevertheless an excellent, concise chronicle of her peak hit-making years. All of her American Top Ten hits are here -- "Downtown," "I Know a Place," "My Love," "I Couldn't Live Without Your Love," "This Is My Song," "Don't Sleep in the Subway" -- plus the majority of her Top 40 singles, including "You'd Better Come Home," "A Sign of the Times," "Colour My World," "Kiss Me Goodbye," and "Who Am I?" They've all been perfectly remastered, sounding clean and vibrant, yet still of their era. All of this makes Downtown an ideal choice for most fans, especially casual listeners. It may not be as comprehensive as some collections, but it's concise, delivering everything you need in terrific sound. © Stephen Thomas Erlewine /TiVo

Pop - Released January 10, 2011 | Discos Cada

Sometimes success can create its own crisis, and the number-one chart placement of "Downtown" in late 1964 was one of those times for Petula Clark and the record labels to which she was signed. Faced with a number-one hit on either side of the Atlantic, Pye Records in England and Warner Bros. in America, both needed an album to take advantage of the mega-hit, and the result was the Downtown LP, a quickly assembled collection of recent singles coupled with the title track and a handful of additions. Strangely enough, it worked, even earning a Grammy nomination despite the fact that not too much on the record resembled the sound of the hit song. As it turned out, several of Clark's prior records, even if they weren't as alluring as "Downtown," did embrace a heavier beat than her purer pop numbers of the very early 1960s. Her version of Burt Bacharach and Hal David's "True Love Never Runs Smooth" features a good beat and a fairly heavy rhythm section beneath its orchestral backing, and Clark's vocal is a delicate mix of mid-1960s pop-music cool masking a hint of very convincing vulnerability; "Be Good to Me" wasn't a great piece of rock & roll, but it had a youthful enough sound and a heavy enough beat to pass muster regardless of an outmoded girl chorus; and "This Is Goodbye," which she co-authored with producer Tony Hatch (writing under his pseudonym of Mark Anthony), was dramatic and cool, with a smooth and interesting arrangement (at least until its chorus, which is predictable). Clark had even cut one bluesy piece of R&B, the old Moonglows number "In Love," which worked well showing off a huskier, harder side to her singing, backed by some understated blues guitar. With a few new style numbers -- such as the moody, high haunt-count "Tell Me (That It's Love)," with its ethereal chorus and lyrical use of electric rhythm and lead guitars and electric piano -- as well as a couple of dignified pop numbers to protect her standing with her old audience, the public readily accepted the older style pieces like "Crying Though a Sleepless Night" and "Let Me Tell You." Clark managed to straddle the old and new parts of her career with this album, which was truly both a snapshot of where she was in the second half of 1964 and a fair representation of her work. The 1993 Sequel Records reissue of Downtown includes a recreation of the French Vogue Records cover of the album, and also three bonus cuts: her 1963 English recording of "I Will Follow Him" (which she'd done first in French the year before under its original title, "Chariot"); the torch song "Darling Cheri"; and "You'd Better Love Me," a pop ballad that starts out dramatic and becomes teasing and flirty, casting Clark in a light, playful mode. © Bruce Eder /TiVo

Pop/Rock - Released January 25, 2005 | BMG Heritage

Petula Clark and Tony Hatch had a golden touch between 1964 and 1968. The brassy singer and velvety producer/songwriter hit the Top 20 of the U.S. singles chart nine times, including two number ones in 1964's "Downtown" and 1965's "My Love." BMG Heritage's Platinum & Gold Collection collects all nine of the hits and adds two album tracks (her showy big-band ballad version of "I Want to Hold Your Hand" and a stately take on Joe South's "Games People Play") and -- in a misguided effort to be current -- a 2004 remix of "Downtown" by someone named the OUTpsiDER. The mix merely grafts the vocals, piano, strings, and horns of the original onto a generic funky breakbeat, sounding amateurish and half-baked. Still, it can't ruin the greatness that comes before it, and the disc is one of the better Clark collections on the market, especially if you just want the hits. However, 2003's The Ultimate Petula Clark, which has ten more tracks, features her work after she split with Hatch, and only costs a few dollars more, would be a better choice than this for someone who wants to delve a little deeper into Clark's career. © Tim Sendra /TiVo

French Music - Released March 4, 2006 | Sony Music Media


Pop - Released January 25, 2016 | BCD - 3RDP

Pop - Released November 6, 1964 | Vogue

Download not available

Pop - Released April 2, 2013 | The End Records

Petula Clark hadn't made a studio album featuring original compositions since the mid-70s when Lost in You was released in early 2013. Amazingly, it came 57 years after her 1957 debut album. Almost as amazingly, the 80-year-old Clark's voice has held up remarkably well, and throughout most of the album's 12 songs she sounds strong and soulful with only the occasional bit of studio trickery used to help her out. Working with producer John Williams, she's crafted an album that relies on a few covers (an MOR country take on Gnarls Barkley's "Crazy," an earnest version of "Imagine") and a batch of newly written songs that feature Clark looking back over a long life in music ("Reflections"), lamenting lost love ("Next to You"), and looking for new love (the country-rocking "Never Enough"). Apart from her voice being so strong and soulful (check out her pleading tones on "Lost in You" if you doubt that even a little), there are two big surprises on the album. First is the slowed-down and elegiac version of her biggest hit, "Downtown"; second is the opening track on the album, "Cut Copy Me." An insistent late-night ballad that blends acoustic guitars and swooning strings with Clark's Auto-Tuned voice and some icy synths, it's the kind of sad and pretty song Saint Etienne would kill for. It also serves notice that Lost in You isn't a nostalgic exercise for Clark; she's fully up to date. It's a quiet triumph of a song that stands as an equal to her best work from the past. There are a couple of missteps (the thin-sounding cover of the Gershwin standard "He Loves and She Loves," the overwrought take on Elvis' "Love Me Tender") and one can't help but wish at times that she had chosen to work with a producer who was a little more sonically adventurous than Williams; he's stuck firmly in the middle of the road and while that fits some of the songs, it would have been interesting to hear what Air, for example, would have done with the sound. Wishes aside, Lost in You is an impressive achievement that shows Clark is still alive and kicking, and stands as a reminder that she is one of the great vocalists of her era. © Tim Sendra /TiVo

French Music - Released April 20, 2018 | Les productions Martin Leclerc

Hi-Res Booklet

Country - Released June 4, 2020 | 芮河音樂有限公司


Pop - Released August 31, 2019 | Millennium Digital Remaster


Pop - Released November 10, 2017 | BMG Rights Management GmbH


Jazz - Released October 26, 2017 | nagel heyer records


French Music - Released April 4, 2018 | Les productions Martin Leclerc


French Music - Released April 17, 2020 | Anthology's