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Pop - Released February 28, 2003 | Parlophone UK

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Bassey's fourth EMI/Columbia album is regarded as the magnum opus of her pre-Goldfinger career, bringing her together with conductor/arranger Nelson Riddle. (Ironically, it was Riddle's still being under contract to Capitol Records which prevented him from working with Sinatra on Reprise at the time, that made this record possible). Riddle approached this album from the standpoint that less is more, providing elegant and subdued accompaniment that emphasized the strings. Bassey's voice comes across with a delicacy of nuance that is startling to hear, achieving new levels of subtlety on this album. One may disagree with the order of the songs -- the moodily expressive "I Should Care," reminiscent of Judy Garland at her best, would be the ideal opener -- but not with the overall content of this album. Throughout Let's Face the Music, one almost gets a sense of Bassey slipping inside these songs, becoming part of them and they her, rather than merely performing them. The interpretations are fresh in other respects as well, with works such as "Let's Fall in Love" or "The Second Time Around" given unexpectedly slow tempos that work beautifully. Riddle is so careful and measured in his every orchestral nuance of this record, that he leaves us open to surprises at many points, perhaps most startlingly the sudden appearance of a harp glissando on "Spring Is Here," after we've been lulled into the expectation that no part of this orchestra will play full-out. Re-released in the late 1990s as part of EMI's anniversary reissue series, remastered in 24-bit sound. © Bruce Eder /TiVo
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Pop - Released April 19, 1999 | Parlophone UK

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Pop - Released March 1, 2010 | Parlophone UK

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Pop - Released January 1, 2009 | Polydor Records

Following her career-defining set at Glastonbury, the success of her cover of Pink's "Get the Party Started," and Kanye West's recent sampling of "Diamonds Are Forever," legendary Welsh powerhouse vocalist Shirley Bassey is perhaps more relevant than she has been since the early '70s. Her 34th studio release, The Performance, continues her unexpected career resurgence by drafting in a whole host of contemporary pop/rock performers and songwriters to pen 11 brand new compositions, the first time Bassey has recorded an album full of original material in over 20 years. Of course, Bassey is no stranger to collaborations, having guested on the Propellerheads' wondrous '60s big-beat anthem "History Repeating" and Swiss electronic duo Yello's 1987 hit "The Rhythm Divine." But instead of furthering Bassey's dance diva credentials, The Performance is an understated and timeless affair which befits her elegant and grandiose status. Produced by David Arnold who, like Bassey, is responsible for some of the most impressive James Bond themes, The Performance successfully modernizes her iconic, sweeping, orchestral sound without ever resorting to unnecessary studio trickery or inappropriate attempts at "getting down with the kids". The Rufus Wainwright-penned "Apartment" is a glorious slice of flamenco, full of Spanish guitars, jazz horns, and gypsy rhythms, which instantly transports you to the streets of Andalusia; fellow countrymen Manic Street Preachers' autobiographical tale "The Girl from Tiger Bay" echoes the Phil Spector-influenced symphonic rock of their 1996 classic Everything Must Go; while the closing track, "The Performance of My Life," a fragile, show-stopping torch song which apparently reduced Bassey to tears while recording it, continues the Pet Shop Boys' impressive track record of writing for female icons, following their work with Dusty Springfield and Liza Minnelli. Elsewhere, Bassey performs tracks written by Gary Barlow (the Burt Bacharach-esque "This Time"), John Barry (the cinematic lounge-pop of "Our Time Is Now"), and the sole female contributor, KT Tunstall (the country-rock-led "Nice Men"), with the same vigor and gusto as she did in her prolific '60s heyday. Like the recent material from Wales' other enduring pop icon, Tom Jones, The Performance proves that age is no barrier, and an 52 years after her debut, Born to Sing the Blues, the number one Dame in Pop is producing some of the best music of her career. © Jon O'Brien /TiVo
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Pop - Released May 23, 1988 | Parlophone UK

Diamonds: The Best of Shirley Bassey anthologizes nearly all of the hits connected to Bassey during her '60s and '70s prime: "Goldfinger," "Diamonds Are Forever," "Big Spender," and "Something." Compared to most of the dozens of Bassey compilations littering the shelves, this one tends more toward Bassey the ballad singer than brassy belter, with selections like "Climb Ev'ry Mountain," "Who Can I Turn To," and "What Now My Love." © John Bush /TiVo
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Pop - Released August 7, 2000 | Parlophone UK

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Pop - Released November 3, 2016 | Music Manager

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Pop - Released April 19, 1999 | Parlophone UK

In keeping with the title, Shirley Bassey's follow-up to her 1970 hit LP Something does indeed present a bit of a change of direction. In fact, it's a step back to her MOR dates of the mid-'60s; the album includes no recent rock standards, and the arrangements focus on full-orchestra symphonic pop with fewer nods to the contemporary scene. Though it didn't chart quite as high as its predecessor, it did make the Top Ten while her version of "(Where Do I Begin) Love Story" hit the Top 40 in Britain. Most of the album is given over to large scale, dramatic pop songs -- "It's Impossible," "Bridge Over Troubled Water," "Until It's Time to Go" -- best treated by a full-throated vocalist like Bassey. It's not quite as raucous or adventurous as Something, but it must've been an easier album to digest for Bassey fans from way back. © John Bush /TiVo
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Pop - Released February 28, 2003 | Parlophone UK

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Pop - Released November 28, 2008 | Parlophone UK

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Pop - Released August 7, 2000 | Parlophone UK

The out of print 1972 CD from Shirley Bassey, And I Love You So, gets two additional bonus tracks on its 2001 re-release, and the more Bassey in the world the better. Her over the top rendition of pianist Jack Dieval's "The Way of Love" keeps the gender intact, as did Kathy Kirby and Cher on their respective hit versions, of a woman singing a song of heartbreak to another woman, only Bassey puts her trademark style on it bringing it into another realm. Chris White includes two lengthy pages of liner notes in the informative eight-page booklet which includes four lovely photos of the queen diva. Perry Como's hit version of the title track, "And I Love You So," a composition from the pen of Don McLean, might've kept this album from getting more exposure, but it is essential Shirley Bassey which her fan base is well aware of. She makes "Bless the Beasts and the Children" exotic while the Tom Evans and Pete Ham timeless classic, "Without You," gets a sort of Eartha Kitt as "Catwoman" reading, Bassey borrowing a bit but never copying. Johnny Harris forgoes the neo-Phil Spector production of Harry Nilsson's hit version to arrange, produce and conduct a special blend to fit Bassey's vocal stylings. The two Noel Rogers produced outtakes from the album sessions. Like many of the artist's releases, this is a real treasure and a true work of art. [The U.K. version adds two bonus tracks: "If I Should Love Again" and "Let Me Be the One."] © Joe Viglione /TiVo

Pop - Released May 26, 2015 | TNA records

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Pop - Released February 28, 2003 | Parlophone UK

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Lounge - Released September 1, 1997 | Parlophone UK

These 16 songs spanning the 1960s to the 1990s (most from the 1960s and 1970s) aren't the ideal way to survey the career of the proudly melodramatic singer, who has recorded prolifically since the 1950s, and who has had more than a couple dozen chart British singles. It does include the numbers that the fan who only wants one Shirley Bassey album will likely want: "Goldfinger," "What Now My Love," "Diamonds Are Forever," "Moonraker," "Big Spender," "As Long As He Needs Me," "I (Who Have Nothing)," "(Where Do I Begin) Love Story," and "Something," the last of which was actually a British Top Five hit just half a year after the Beatles put it out as a single. There's also her 1997 British hit collaboration with Propellerheads, "History Repeating." Perhaps its success spurred the inclusion of the three remixes that conclude the album: "Goldfinger" (by the Propellerheads), "(Where Do I Begin) Love Story" (by AwayTeam), and "Big Spender" (by Wild Oscar). Fuddy-duds will find this unfortunate, as it's not typical of Bassey's work and will quickly date this anthology as a partial attempt to cash in on "History Repeating." ~ Richie Unterberger
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Pop - Released April 23, 1990 | Parlophone UK

Vocalist Shirley Bassey is best known to most listeners for her dramatic performances on songs from James Bond films ("Goldfinger" and "Diamonds are Forever," among others), but her output also encompassed show tunes and popular songs. LOVE SONGS collects Bassey's interpretations of tunes of an amorous nature, from the Beatles' "Something" to "I Get a Kick Out of You" to American chestnuts like "Moon River." Bassey's brash, passionate delivery gives a notable charge to these romantic gems, making the album a good bet for fans of the singer. © TiVo
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Pop - Released April 16, 2001 | Parlophone UK

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Vocal Music (Secular and Sacred) - Released May 19, 1998 | DRG Records

Shirley Bassey recorded the concert she performed on her 60th birthday in 1997 as Birthday Concert. The show took place at Althorp Park in England. The set list includes some of her most famous songs, including "Diamonds are Forever," "Big Spender," and "Something." Some of the songs are surprising, like her cover of Foreigner's "I Want to Know What Love Is," and some she has been singing for years, like "Hey Jude." The average sound quality leaves a little to be desired. This is the perfect way for a fan with superficial knowledge of Shirley Bassey's career to dig in a bit deeper. It is also a more traditional introduction, as opposed to some of her work with the Propellerheads. © JT Griffith /TiVo
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Comedy/Other - Released January 15, 2007 | Parlophone UK

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Pop - Released April 30, 2017 | Old Europe

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Pop - Released February 28, 2003 | Parlophone UK