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When Dusty was in Memphis, visiting from the UK to record an album with the city's hottest R&B musicians, she was too nervous to lay down vocals. What she overdubbed in New York remains revelatory: "Son of a Preacher Man" is confident, innocent, and daring, and the vocals on "So Much Love" rise euphorically with the soulful strings. Those musicians were as good as advertised, easing into ...
Listen to Dusty In Memphis (Deluxe Edition) by Dusty Springfield on Apple Music. 1969. 25 Songs. Duration: 1 hour, 16 minutes. Duration: 1 hour, 16 minutes. Album · 1969 · 25 Songs
13 mars 2023 · “I hated it at first,” Dusty Springfield said in 1993, of her 1969 album, Dusty In Memphis.. “I hated it because I couldn’t be Aretha Franklin.”. Springfield’s love for and support of Black American music was well established by the late 60s.
Dusty in Memphis is the fifth studio album by English singer Dusty Springfield, released on 31 March 1969 in the United States by Atlantic Records and by Philips Records internationally. Springfield worked on the album 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 ...
When Dusty was in Memphis, visiting from the UK to record an album with the city's hottest R&B musicians, she was too nervous to lay down vocals. What she overdubbed in New York remains revelatory: "Son of a Preacher Man" is confident, innocent and daring, and the vocals on "So Much Love" rise euphorically with the soulful strings. Those musicians were as good as advertised, easing into ...
30 mars 2024 · Dusty Springfield’s classic LP Dusty in Memphis falls into this category. Her fifth studio album and first recorded for Atlantic Records, Dusty in Memphis came along at a time when Springfield’s career was viewed as being on the decline, with 1966’s “You Don’t Have to Say You Love Me” being her last hit single at that point.
18 janv. 2024 · When Atlantic Records began courting Dusty Springfield in 1968, the attraction was mutual. She was the decade’s pre-eminent British pop female vocalist, a Mod icon and TV star crowned the “Queen of White Soul” for a lush style steeped in American pop and R&B influences.
