The Hit Songs of Dusty Springfield | Spinditty The Hit Songs of Dusty Springfield The Hit Songs of Dusty Springfield Updated on December 15, 2016 Joined: 2 years agoFollowers: 130Articles: 80 62 Dusty Springfield | Source The Best of Dusty Springfield In my humble opinion, Dusty Springfield's hit songs have rightly been cited as among the best by any British female singer of her generation. Starting out as a member of The Springfields, she progressed to a solo career in the 1960s and was among the forefront of the British Invasion, enjoying success in both the USA and the UK. Although not immediately recognisable in her earlier recordings, her preference for the soul music coming out of America became more apparent as her career blossomed. She has been credited with introducing the Motown Sound to the UK; when on TV in the Sixties she hosted a showcase of the music, singing along with Martha Reeves. You can hear that soulfulness in many of the songs featured here, all of which appeared on the British music charts of the time.

During the 1960s, there was sometimes a discrepancy between the Dusty Springfield songs released as singles in the UK and the USA. Therefore, there may be tracks missing here that were popular in the States which were not so in Britain, and vice versa. However, there is no denying the popularity of Dusty Springfield, not only in the 1960s, but also during her comeback in the 1980s and 1990s. If, like me, you enjoy the output of one of the finest popular singers the UK has produced, then you are in for a treat! Advertisement 1963: "I Only Want to Be With You" Dusty's first hit in the UK was this Number 4 song written by Mike Hawker and Ivor Raymonde. Unequivocally catchy, Dusty delivers a full blooded vocal full of defiance that, at the time, had not been matched by many female singers in the rock era. With the beginnings of the British Invasion taking place in the US, it also became her first hit record in America too.

Advertisement Hit Songs of 1964 Stay Awhile: This Number 13 UK hit is a song that includes much that is reminiscent of Phil Spector's Wall of Sound. It seems the three minute single had not fully arrived yet, as this clocks in at a little under two minutes. I Just Don't Know What to Do With Myself: One of Dusty Springfield's biggest hits of the 1960s, this is an emotionally laden ballad that defined her plaintive, soulful vocals. It reached Number 3 in the UK, but strangely failed to chart in the USA. Losing You: Dusty's third and final UK Top 20 hit of 1964. Catch a glimpse of Gene Pitney in the video from the 1960s pop show Ready, Steady, Go! Stay Awhile I Just Don't Know What to Do With Myself Losing You Hit Songs of 1965 Your Hurtin' Kinda Love: A minor Top Forty hit in the UK, this was nevertheless another Dusty vocal tour-de-force, as she infuses her soulful voice into a standard pop-style Sixties song.

In the Middle of Nowhere: Another huge hit in the UK that missed the mark in the US, the song is an uptempo "growler" from Dusty that made the Top Ten in July. Some of Your Lovin': Written by the famed songwriting team of Gerry Goffin and Carole King, this song became Dusty Springfield's favourite performance and was another Top 10 hit in October. Your Hurtin' Kinda Love In the Middle of Nowhere Some of Your Lovin' Little By Little Hit Songs of 1966 Little By Little: 1966 was to be Dusty Springfield's most successful year singles wise. This first hit of the year really did not indicate the direction in which she was headed, but it nevertheless gave her a rock inspired Top 20 hit. You Don't Have to Say You Love Me: Surprisingly, this was Dusty's only ever UK Number One hit. Originally an Italian song entitled "Lo Che Non Vivo (Senza Te)," it was given an English lyric full of unrequited love in which she gives one of her finest vocal performances.

Goin' Back: Not released as a single in the US, if pushed, this is quite possibly my favourite of Dusty Springfield's songs. Another track penned by Gerry Goffin and Carole King, Dusty's rendition will surely break your heart. It peaked at Number 10 in July. All I See is You: Dusty is still in distress as the lyrics prove with this emotional ballad that saw it rise up the British charts to a peak of Number 9 in October. You Don't Have to Say You Love Me Goin' Back All I See is You I'll Try Anything Hit Songs of 1967 I'll Try Anything: A return to an uptempo Dusty, this song was more reflective of her soul preferences, sounding somewhat like the Tamla Motown sound that she was happy to promote. However, it broke a streak of three UK Top 10 hits by only peaking at Number 13. Give Me Time: This tearjerker followed later in 1967, but by this time the record buying public's attention was being drawn to the Summer of Love and not impassioned ballads.

Still a fine recording, though it did not perform well in the music charts, peaking at a lowly Number 24. It became the B-Side of her American hit The Look of Love. Give Me Time I Close My Eyes and Count to Ten Hit Songs of 1968 I Close My Eyes and Count to Ten: Dusty Springfield returned to the UK Top Five with this plaintive mid tempo number that produced yet another fine vocal performance. Son of a Preacher Man: This would be Dusty Springfield's last UK Top 10 hit for eighteen years, but it seems she saved the best for last. As the 1960s came to a close, she finally recorded several songs in a genre that was close to her heart, with musicians whom she admired. Son of a Preacher Man was lifted from one of the best albums of the decade: Dusty in Memphis. Son of a Preacher Man What Have I Done to Deserve This?

In Collaboration With the Pet Shop Boys - Hits From the 1980s & 1990s In the late 1980s, pop-synth duo The Pet Shop Boys rediscovered Dusty Springfield and featured her on their latest single of the time, "What Have I Done to Deserve This?" This led to a revival in her career and saw her appear in both the UK and US music charts into the early 1990s. Several of these hit songs were either written and/or produced by The Pet Shop Boys and are included here. They are "Nothing Has Been Proved," "In Private," "Reputation," and "Arrested By You" which were all taken from her UK Top Twenty album: Reputation & Rarities. Nothing Has Been Proved Dusty Springfield: You Don't Have To Say You Love Me - Music on Google Play You Don't Have To Say You Love Me ( 7) Description You Don't Have to Say You Love Me is the fourth album of singer Dusty Springfield to be released in the USA, issued on the Philips Records label in 1966.

The album was more or less a retitled re-issue of Springfield's British album Ev'rything's Coming Up Dusty, recorded and released in 1965, with the addition of the two hit singles "You Don't Have To Say You Love Me" and "Little By Little", both released in 1966. In fact, Ev'rything's Coming Up Dusty had been released in the US a few months prior, but as the title track of You Don't Have to Say You Love Me became a huge hit single for Springfield, Philips USA decided to repackage and retitle the album after the single. The album was first released on CD by Mercury Records/Universal Music in 1999, then with the remaining three tracks from Ev'rything's Coming Up Dusty as bonus features.

Dusty Springfield's Golden Hits - Dusty Springfield | Songs, Reviews, Credits | AllMusic Dusty Springfield's Golden Hits google+ AllMusic Review by Bruce Eder Released in the fall of 1966, about three months after the album You Don't Have to Say You Love Me , Dusty Springfield's Golden Hits marks a line of demarcation in the British soul legend's recording career, at least from the standpoint of the U.S.. The album itself is a jewel of a collection -- listening to it 40-some years later, even after all of the ubiquitous compilations of Springfield 's music that have appeared since on CD, it's still an amazing experience; the songs are killers, every one of them -- any one of them could still rate multiple successive listens as singles, and a few ("You Don't Have to Say You Love Me," "I Only Want to Be with You," "In the Middle of Nowhere") compulsive repetition by otherwise level-headed listeners.

And no compilation of work, hits or otherwise, by any other female artist, from England or America, could so successfully embody the transatlantic/multi-racial nature of mid-'60s pop/rock -- anyone coming down from Mars or the far side of the Moon (or just born too late to know) and wanting to know what made that period of pop music so special and unique unto itself, could just as easily start with the ten songs on this LP as they could with the Beatles Please Please Me , With the Beatles etc., the Rolling Stones ' December's Children or Aftermath , or any other album you care to name; other female singers touched on some of the same, but only Dusty Springfield rates a place alongside of these records. And in a way, it's a shame that this album is as strong as it is, because in the process of overpowering a lot of listeners, it could also satisfy them just enough to keep them from seeking out her earlier albums, and that would be a mistake -- Dusty Springfield's Golden Hits may have been the mother-lode of the lady's early hits, but there were lots of equally valuable musical veins to explore in those first two years of her solo career.

And there's another side to hearing her most popular work distilled this way, perhaps more pronounced with this record than with later compilations, because it was assembled and released while she was still a very active, very visible and public performer (her life and work later became much more private). As delightful as this collection (and all of her early work, for that matter) is, it's difficult to ignore the fact that Springfield seemed to get little joy out of her career from that period -- or much from later on, as well; it's almost as though she was as unhappy and unsettled in her emotional life as her songs made listeners feel overwhelmed and, well, soothed and settled; the inverse relationship between artist and listener is almost frightening to contemplate as one listens to this collection, dating from the midst of her period of greatest fame and success. And knowledge of this can make the joy in listening to her work an emotionally draining experience, even more than the music itself (all structured as powerful listening experiences to start with) would demand on its own terms.

But the songs are still alluring and addictive and intense -- indeed, there's an almost narcotic-like effect to this album, even four decades later and long since supplanted by bigger and more ambitious collections of Springfield 's work. Even the mono version, despite missing some of the larger than life dimensionality that was natural to Springfield 's voice and the arrangements in use here, has the same effect. Beyond this point in her career, record label politics and changing tastes between the two sides of the Atlantic would limit her exposure on new releases for a couple of years -- just one more of her new Philips albums, The Look of Love , would show up in America, followed by a year-plus gap before Dusty in Memphis came out on Atlantic, anchoring her legend at the pinnacle of the musical mountain she'd started climbing when she went solo in 1963. And after that time, Springfield started to become an elusive, almost mythic figure in the pop firmament, akin to Brian Wilson , Phil Spector , or Scott Walker , spoken of almost like someone who had passed some threshold beyond the day-to-day mortal veil.

Golden Hits was the beginning of a last look at her first manifestation as a pop/soul goddess -- before she began moving in more rarefied circles of musical excellence. Track Listing Dusty Springfield Dusty Springfield Underrated and underappreciated by the general public. Agree? by Anonymous reply 1 03/27/2008 She had an amazing, warm and soulful voice. I love her version of The Look of Love. by Anonymous Agreed, OP!!! Made some great records as well. by Anonymous Nowadays, sure. In the 60s she was very popular. by Anonymous 03/27/2008 What R4 said. It is generational. Nobody under 45 knows who Connie Francis was either. I went and watched some YouTube clips of Dusty based on the gushing accolades here on DL. I dunno.... she seemed like a good singer and a sweet person but I was not blown away. by Anonymous Not in the UK. She's an icon here. by Anonymous reply 6 03/27/2008 No. I think she held an iconic position even here in the States for people who knew music. Amazing songstress.

by Anonymous She is the only singer that Aretha Franklin bowed down to. They were great friends. by Anonymous Was just listening to her greatest hits CD the other day. A tremendous artist. by Anonymous Amazing voice but many of her arrangements are busy and loud and didn't age well. by Anonymous She's due for a comeback - maybe she and Cher could have a farewell tour. by Anonymous reply 11 03/27/2008 She certainly makes the rounds of my CD player on a regular basis. But her output was somewhat irregular, and she only has one truly inspired album: Dusty in Memphis. by Anonymous I saw her in Harrods once, wearing a fur coat and tracksuit. by Anonymous Dusty died of breast cancer in 1999, R11. by Anonymous reply 14 03/27/2008 Is it true that Dusty was poor and living in a cheap motel in West Hollywood when the Pet Shop Boys called her to work with them? I seem to recall one of them saying they had "saved" her.

by Anonymous reply 15 03/27/2008 No, according to one of her partners she lived in a normal prized motel, but nothing glamorous. They did save her from drugs methinks. by Anonymous reply 16 03/29/2008 [quote]Amazing voice but many of her arrangements are busy and loud and didn't age well. Sadly true in some instances. It sounds on some tracks like Herb Alpert and The Tiajuana Brass are backing her. by Anonymous R8 - She and Aretha were not great friends. She and Martha Reeves were great friends. by Anonymous Apparently she was very lazy. by Anonymous reply 20 03/29/2008 She's in the Rock & Roll Hall of fame, so no, I wouldn't say she's underappreciated. She's iconic. She's appreciated more now than ever. by Anonymous reply 21 03/29/2008 She had a very turbulent life with many abusive girlfriends. She was a great artist and a gay icon to both men and women.

She was as out as it was possible for a lesbian in the entertainment busienss to be in her day. She didn't beard up and made statements to the effect that she was up for anything. She ad a big affair with martha Reeves and brought Motwon to the UK as a result. There's an incredible "Ready Steady Go" show that she host (now on video) with literally EVERYBODY from Motown on it. The Pets not only "rescued" her from L.A. torpor they put her back on top of the pops. There's a great French and Saunders show with her that she did in her last years. Wonderful fun. It's also on video by Anonymous reply 22 03/29/2008 Was huge in the UK. In the US, Dusty wasn't appreciated at all until after her dead. There have been a few books, but fans are "unnerved" by tales of Dusty's drug/alcohol/mental health issues and her lesbian whoring around. Isn't there a movie bio-pic in the works?

by Anonymous 03/29/2008 >>>She had a very turbulent life with many abusive girlfriends>>> Did you read this is Dancing With Demons? I haven't read it mainly cause I can't stand Vicki W., but from what I gather she was only in one really abusive relationship. by Anonymous r23, Dusty was a hit maker in the US in the 60s you're not well informed She was not the icon she was in the UK--but she was much appreciated here I was a teenager in the 60s by Anonymous reply 25 03/29/2008 Dusty had a few hits in the US, r25, but she wasn't major star. I'm not "informed," I was there. by Anonymous reply 26 03/29/2008 Shelby "Smack Dyke" Lynne's new CD of Dusty cover versions is appalling. Her version of "Anyone Who Had a Heart" sounds like she put as much effort into singing it as she would in taking a piss. by Anonymous reply 27 03/29/2008 Agree about Shelby Lynne's CD.

Piece of lazy shit. She blew a great opportunity to honor and do Dusty justice. Dusty Springfield's name is well-remembered here in America. I would say she made her mark. by Anonymous OK, a few random comments... I drooled over Kirk Cameron throughout my teens, (see r29). I think Shelby's version of "Just a Little Loving" is brilliant. She had 18 singles hit the US Billboard 100 in the 60's so I'd say r23, 25, 26, who claim to have been there, are perhaps showing signs of their age - senility. by Anonymous reply 30 03/29/2008 Dusty enjoyed her share of fame and appreciation back in the day. Moreso in the UK than in North America, although she did OK here. she was a well-respected artist but I think her move to the US was her undoing. It was in LA that her worst tendancies and habits grew out of control. She should have stayed in the UK and continued to be a local star.

by Anonymous reply 31 03/29/2008 18 singles hits in the US? That's going way overboard. Below the top 20 is not a singles hit. Give me a list. by Anonymous Top 25 in the US: ollowing singles reached weekly Top 25 of Billboard Hot 100[3]. * 1963: "I Only Want To Be With You" * 1964: "Wishin' and Hopin'" * 1966: "You Don't Have to Say You Love Me" * 1966: "All I See is You" * 1967: "The Look of Love" * 1969: "Son of a Preacher Man" * 1970: "Brand New Me" * 1987: "What Have I Done to Deserve This?" with the Pet Shop Boys By today's standards I'd say that makes her legend worthy here in the US. Attention spans and popularity are both very short nowadays. If an artist has more than 2 hit songs they are considered huge.

by Anonymous reply 33 03/29/2008 In addition to the iconic hits listed above, Dusty also had a zillion other minor hits that were just remarkable recordings, like Windmills of Your Mind, 03/29/2008 I always loved her hand gestures. She owned it. And the make-up and beehives! r43: Carole Pope, Martha Reeves, Norma Tanega and Teda Bracci(who she married) are the ones I recall. by Anonymous reply 45 03/29/2008 Those hand gestures were the REAL giveaway for Jaye Davison in "The Crying Game." Drag queens LOVED Dusty's hand jive. My favorite Dusty tune is a very obscure one by Randy Newman: "I've Been Wrong Before." by Anonymous reply 46 03/29/2008 For all you Dusty fans, breaking news (but maybe you know this already). Anne Murray has included an unreleased version of Dusty's song "I Just Fall in Love Again". Dusty recorded this, but it never saw the light.

Anne Murray later recorded it, and made it a huge hit. When it came down to recording her new 'Duets' Album, Anne tracked down the unreleased version and combined her voice along with Dusty's to make a new duet on her album! by Anonymous reply 47 03/29/2008 LOVE the link, R44. I liked it better when girls wore heels, girdles, little swingy dresses, lots of eye makeup and bouffant hairdos. They were practically a different species. A little OT, but I think they made a bad bargain back in the middle '60s. Uh-oh. Now what did I do with those asbestos underpants? by Anonymous reply 48 03/29/2008 Dusty's version of "I Just Fall in Love Again" was indeed released. It was on her "Living Inside Your Love" album. by Anonymous 03/29/2008 [quote] I always loved her hand gestures. She owned it. And the make-up and beehives! I never saw them until a few years ago in old footage on PBS during a pledge drive.

It was "You don't Have to Say You Love Me" . I've loved her ever since. by Anonymous reply 50 03/29/2008 "Dusty's version of "I Just Fall in Love Again" was indeed released. It was on her "Living Inside Your Love" album." Anne Murray must of had a senior's moment, as she was the one who said that wasn't released. Saw it on her latest tv special. by Anonymous [quote]She ad a big affair with martha Reeves Is this true? It's news to me. Dusty's version of the Look of Love is pure sensuality, her voice and that saxophone solo, too sexy. by Anonymous reply 63 03/29/2008 David: LOL! I am not the only person who thought the same thing about "The Crying Game." A great, great singer. Imho, her performance of "The Windmills of Your Mind" is beyond classic. You listen to her recordings and realize that most singers today should get day jobs. Btw, for years I have pointed out the Dusty in the 60's has a startling resemblence to Princess Diana.

by Anonymous reply 64 03/29/2008 Martha has never fessed up to it. But according to different people who were in the know claim it. But they definitely were BFF. The Windmills of Your Mind is hauntingly beautiful. I love it, but I always choke up when I listen to it. She passed on too early, damn. by Anonymous reply 69 03/30/2008 Friday night I saw a Dusty Springfield performance on PBS. I only knew her voice and never saw how she performed. It was strange because every drag queen I've ever seen stole their movements and gestures from Dusty Springfield. She was throwing her arms around like she was on a tilt-a-whirl at a carnival. I always thought most lip-synching drag queens were over the top with their gestures. It looks like D.S. started it. by Anonymous reply 70 03/30/2008 Remarkable recordings do not a "hit" make, r33/34, and there is quite a difference between 8 charted singles and 18 HIT SINGLES.

Not a "staple on variety shows," either. She was on a couple of Sullivans, the Burt Bacharch special, a Johnny Cash show. That was it. This being said, I loved Dusty and wish she had been bigger in the US, had more opportunity to do more things, hadn't self-destructed, etc. but the fact is, she was not a huge success here. by Anonymous I think maybe this is my favorite Dusty song - "No Easy Way Down". Maybe. It's so hard to choose. by Anonymous reply 77 03/30/2008 Photo from Dusty and Teda's commitment ceremony. Not surprisingly, drama ensued at and after the wedding�Dusty was trying to stay sober, and Teda had sneaked in a bottle of champagne, much to Dusty's indignation. by Anonymous reply 78 03/30/2008 R75, thanks! I have a couple of favorite versions of this song and now I'm adding Dusty's to that list.

by Anonymous reply 79 03/30/2008 [/italic] Not a "staple on variety shows," either. She was on a couple of Sullivans, the Burt Bacharch special, a Johnny Cash show.

That was it [/italic] Hullabaloo 1964 All Cried Out Pop Singles 41 1964 I Only Want To Be With You Pop Singles 12 1964 Stay Awhile Pop Singles 38 1964 Wishin' and Hopin' Adult Contemporary 4 1964 Wishin' And Hopin' Pop Singles 6 1965 Losing You Pop Singles 91 1966 All I See Is You Pop Singles 20 1966 You Don't Have To Say You Love Me Pop Singles 4 1967 Give Me Time Pop Singles 76 1967 I'll Try Anything Pop Singles 40 1967 What's It Gonna Be Pop Singles 49 1967 The Look Of Love Pop Singles 22 1969 Breakfast In Bed Pop Singles 91 1969 Don't Forget About Me Pop Singles 64 1969 Son-Of-A Preacher Man Pop Singles 10 1969 Willie & Laura Mae Jones Pop Singles 78 1969 A Brand New Me

 Pop Singles 24 1969 The Windmills of Your Mind Adult Contemporary 3 1969 The Windmills Of Your Mind Pop Singles 31 1970 Brand New Me Adult Contemporary 3 1970 Silly, Silly, Fool Pop Singles 76 1978 That's The Kind Of Love I've Got For You Club Play Singles 31 by Anonymous reply 81 03/30/2008 I just watched her on the Toni Tenille show on youtube, and she seemed to be either high or drunk at the time.

I just wanted to save her. They sang Proud Mary... by Anonymous Breakfast in Bed is pure seduction. I love Dusty Springfield. by Anonymous 06/08/2008 >>Underrated and underappreciated by the general public. Agree?<< No, I don't agree, Dusty was big star in the 60s. Internationally, not just in the UK! My parents had all her albums. Unless someone is too young to know who she is and who she influenced, no, she certainly wasn't underrated at all. Later on, The Pet Shop Boys helped to revive her career when they asked her to sing on "What Did I Do To Deserve This?", I think that was the title. I'm too lazy to walk over to my CD cabinet..... by Anonymous Forgotten Hits - DUSTY SPRINGFIELD Forgotten Hits DUSTY SPRINGFIELD The Dusty Springfield Story Our DUSTY SPRINGFIELD Series first ran in FORGOTTEN HITS back in 2004.

Below, you'll find the original introduction for this series: When I first decided to do a feature on DUSTY SPRINGFIELD, I approached FH List Member MFPING, who had recently completed his outstanding series on CONNIE FRANICS for FORGOTTEN HITS. Jokingly (well, HALF-kidding anyway), he asked if he was becoming the guy who'd cover all the big-haired divas of the '60's ... in fact, he even sent us this hysterical picture of Connie and Dusty from what must have been something like UN-Glamour Magazine: (Quite honestly, I'm not sure if this is a REAL picture of CONNIE and DUSTY ... or a photo of the hot air balloons used in the Macy's Thanksgiving Day Parade ... but I figured I'd run it anyway!!!) *** I suggested to PING that he read DANCING WITH DEMONS: THE AUTHORIZED BIOGRAPHY OF DUSTY SPRINGFIELD, written by PENNY VALENTINE and VICKI WICKHAM. I was in the midst of reading it myself and found it to be a difficult read ... way too much "inner circle" name-dropping ...

and facts that seemed to take away from the story at hand. All the self-abuse was played up larger than the accolades of a very successful career. I remember telling PING that there was a good story here to tell and that we needed to do so in a more interesting, entertaining way. And HE said: I have to apologize for not getting back to you sooner on the Dusty Springfield email. I went out, got the book a couple of days after your email, and finished it a little over a week later. I have to say that the book really did suck big time and didn't leave me feeling like I knew anything worthwhile about what made her tick.

Your idea about a feature on her is interesting, and I would be beyond honored to co-author a piece with you, but I am having trouble envisioning how we would work it, aside from me trashing the book and you filling in the blanks, lol So, we set out to tell a more "interesting" side of the story of DUSTY SPRINGFIELD, focusing more on her career and, if not completely downplaying her demons and idiosyncrasies, at least putting them all into one place and then getting back to the music that we all fell in love with. (Let's face it ... the DUSTY SPRINGFIELD Story doesn't have a happy ending! It WOULD, however, make an EXCELLENT BEHIND THE MUSIC television special. There is no question that her so-called "personal demons" greatly affected the longevity of her singing career.) Unfortunately, due to a family emergency, PING had to drop out of this project unexpectedly. In carrying on alone, I tried to retain our original vision when putting this piece together. I can only hope that, to that end, I have succeeded. As such, I dedicate this piece to Michael, his late father and his entire family in their difficult time.

(Hang in there, Michael...there are plenty of other divas for us to cover!) DUSTY SPRINGFIELD was born MARY ISABEL CATHERINE BERNADETTE O'BRIEN (now is THAT an Irish-Catholic name or what?!?!?) on April 16, 1939. To compensate for what she felt was little family recognition, she found her way through music and, in the late 1950's, auditioned to join THE LANA SISTERS, a British equivalent of THE ANDREWS SISTERS or THE BEVERLEY SISTERS. Along with RISS CHANTELLE and LYNNE ABRAMS, MARY O'BRIEN became one of the made-over bubble-cut blondes, renaming herself "SHAN" for this show-business experience. Performing with THE LANA SISTERS taught DUSTY quite a bit about stage presence and performance ... the group appeared regularly on BRIAN MATTHEWS'popular BBC radio program SATURDAY CLUB and opened for successful British acts like CLIFF RICHARD and ADAM FAITH as well as American recording artists touring U.S.

airbases in Europe such as NAT KING COLE and JOHNNY RAY. While DUSTY was off touring with the LANAS, her brother DION had formed a new folk duo with his friend TIM FEILD. In 1961, at the ripe old age of 21, DUSTY joined her brother and THE SPRINGFIELDS were born. Changing their names to TOM, TIM and DUSTY SPRINGFIELD, the trio started to take off on British TV. In 1962, a year and a half before THE BEATLES burst upon the American Music Scene, the British band THE SPRINGFIELDS scored a rare #20 U.S. hit with their version of SILVER THREADS AND GOLDEN NEEDLES, a song later covered (with varying degrees of success) by LINDA RONSTADT, THE COWSILLS, JODY MILLER and, on the Country Charts, DOLLY PARTON, TAMMY WYNETTE and LORETTA LYNN.

(Ironically, this single never charted in England where THE SPRINGFIELDS had five other Top 40 Pop Hits between 1961 and 1963.) TOM SPRINGFIELD maintained from the inception of the band's career that THE SPRINGFIELDS were on a three-year plan. True to his word, the group disbanded in 1963 ... but not before they appeared on the pilot episode of READY, STEADY, GO, the hugely successful British Television Music Series. BTW: Dusty's brother TOM SPRINGFIELD didn't exactly disappear off the music charts after THE SPRINGFIELDS split up...he went on to write and produce many of THE SEEKERS' biggest hits, including I'LL NEVER FIND ANOTHER YOU, A WORLD OF OUR OWN and GEORGY GIRL. The Springfields 1964 was a big year for EVERYTHING British and DUSTY SPRINGFIELD was no exception. Her hits I ONLY WANT TO BE WITH YOU, STAY AWHILE, WISHIN' AND HOPIN', and ALL CRIED OUT were all Top 40 Hits here in the U.S. that year.

(You can add LOSING YOU and I JUST DON'T KNOW WHAT TO DO WITH MYSELF to that list on the British Charts.) In September of 1964, she was one of the featured performers on a bill that included THE RONETTES, THE SHANGRI-LAS, MARTHA AND THE VANDELLAS, THE TEMPTATIONS, THE EXCITERS, THE SUPREMES, MARVIN GAYE and SMOKEY ROBINSON AND THE MIRACLES ... imagine seeing THAT show!!! (And all for probably around $4.00 - $5.00!!!) One of the first American songs to influence Dusty was TELL HIM by THE EXCITERS, the Top 5 Hit from early 1963. She loved the whole "girl group" sound and now here she was, sharing the stage with some of the biggest names in Girl Group History. She was so enamored by MARTHA REEVES AND THE VANDELLAS that she would often come out on stage to sing back-up with them ... the great white, bubble-blonde hope!

In fact, DUSTY hosted a special edition of READY, STEADY, GO that featured many of the Motown artists of the day. (BERRY GORDY has credited this program with breaking many of his acts in Great Britain.) One of the thrills of her lifetime was singing a duet with MARTHA REEVES on DUSTY's big hit at the time,WISHIN' AND HOPIN'. In 1964, DUSTY made International Headlines when she began a tour of South Africa, refusing to perform in front of any segregated audiences. (Apartheid was a BIG issue at the time and Dusty actually had it written into her contract that all her shows were to be in front of mixed audiences ONLY ... in fact, after three shows, she was pretty much forced to leave the country ... but not before the shockwave of her bold stance shot through the record industry.) 1965 was a quieter year for Dusty ...

only one of her singles made the US chart (and that was the low-charting LOSING YOU, #84.) In Great Britain, however, YOUR HURTIN' KIND OF LOVE, IN THE MIDDLE OF NOWHERE, SOME OF YOUR LOVIN' and LITTLE BY LITTLE all made the UK Top 40. While touring Italy that year, she came across a beautiful song called IO CHE NON VIVO SENZA TE. Dusty loved the melody and wanted to record the song, but a literal translation to English wasn't working, so she hired her manager, VICKI WICKHAM and YARDBIRDS' manger SIMON NAPIER BELL to write a new set of English lyrics. The result was her first #1 smash: YOU DON'T HAVE TO SAY YOU LOVE ME remains one of Dusty's biggest and best-known hits. (It peaked at #3 here in the States where, years later, ELVIS PRESLEY also scored a hit with his version of this tune.) The lyrics were actually pretty revolutionary at the time ... taking an opposing look at love and relationships. Dusty was hot again but soon was turning up in the British tabloids ... seemed everyone wanted to know about her love life.

Although occasionally Dusty would be linked with some male singer or movie star heartthrob, the truth was her preference was other women ... and, in 1966, this was not a lifestyle that enjoyed mass-approval by the public. Rumors that she was closer to MARTHA REEVES than her WISHIN' AND HOPIN' duet ... and known liaisons with back-up singers (and roommate / sleep-over pals) MADELINE BELL and NORMA TANEGA (both of whom would have their OWN Top 40 One-Hit Wonder in the '60's ... our previously featured I'M GONNA MAKE YOU LOVE ME and WALKIN' MY CAT NAMED DOG respectively) as well as quite a few other female companions, kept the British rags full of Dusty stories and speculations. In 1968, she decided to come to the States to escape the intrusion into her personal life and record her next album ... and what an album it was. THE ITALIAN JOB: Dusty's recording of YOU DON'T HAVE TO SAY YOU LOVE ME went all the way to #1 in Great Britain.

ELVIS PRESLEY's version, released in 1970, peaked at #10 and topped Billboard's Adult Contemporary Chart for a week. ELVIS enjoyed a fair amount of success translating Italian songs to English himself ... both IT'S NOW OR NEVER (adapted from the Italian song O SOLE MIO) and SURRENDER (from the Italian song COME BACK TO SORRENTO) topped the charts in late 1960 / early 1961. DUSTY IN MEMPHIS is regarded by critics to be one of the landmark, must-have LPs of the '60's ... but, in fact, when it was first released it hovered near the bottom of the LP Charts. It peaked at #99, spending just three months on the charts and initially only sold about 100,000 copies. (It fared even worse back in Jolly Old England.) Yet it was the perfect marriage of artist, material and producer and still holds up well today. Dusty's contract with Philips Records had expired and Atlantic Records, one of the premier R&B independent labels, couldn't wait to sign her up.

ARETHA FRANKLIN had recently jump-started her career by signing with the label and, as we learned in our HISTORY OF ATLANTIC RECORDS feature, they were known for the "respect" they had for their artists. The Memphis and Muscle Schoals sound were at their peak at the time. Dusty always had a voice that favored R&B and producers JERRY WEXLER, ARIF MARDIN and TOM DOWD decided to make the most of it by selecting material that would showcase this side of Dusty's style. The lead-off single, SON OF A PREACHER MAN, returned Dusty to The Top Ten on both sides of the ocean. It's gone on to become a '60's classic (and became a key-point on the soundtrack to one of the coolest scenes in the cult-flick hit PULP FICTION.) The song was first offered to ARETHA FRANKLIN, who turned it down, feeling it not only didn't fit her style, but also would never be a hit record. Ironically, ARETHA would go on to record her own version a couple of years later.

It pales in comparison and only charted for two weeks as the "tag-along" B-Side to her #13 Hit CALL ME. Sadly, after hearing Aretha's version, Dusty became self-conscious about performing the song and even began adopting some of Aretha's phrasing when singing what truly was the definitive version in concert. When JERRY WEXLER first presented the demos for Dusty's consideration prior to recording the album, she rejected EVERY song flat out. She said that there was nothing in the pile that she felt she could do justice to and flew back to England. A couple of weeks later, she reconsidered and, back in Memphis, selected the 11 songs that ultimately made up the LP. EVERY song she picked was from the originally rejected batch ... only this time, they were DUSTY's choices. Quite honestly, these were the songs she would have been most comfortable singing anyway: CAROLE KING and GERRY GOFFIN (4 songs), BURT BACHARACH and HAL DAVID, BARRY MANN and CYNTHIA WEIL, and newcomer RANDY NEWMAN (2 songs) were composers whose songbooks she regularly raided for material.

Her follow-up single DON'T FORGET ABOUT ME / BREAKFAST IN BED failed to make The Top 40 (it stopped at #52) and, in 1969 THE WINDMILLS OF YOUR MIND (from the Motion Picture THE THOMAS CROWN AFFAIR starring STEVE McQUEEN and FAYE DUNAWAY) peaked at #22. (It was the ONLY song Dusty really fought to keep off the album, finally giving in because of her previous success with the soundtrack hit THE LOOK OF LOVE, #22 in 1967.) She released another single from these session that did NOT appear on the album, but the TONY JOE WHITE song WILLIE AND LAURA MAE JONES stalled at #71. In an effort to keep the soulful magic alive, another album was planned, only this time the sessions would be moved to Philadelphia where THOM BELL, KENNY GAMBLE and LEON HUFF were at the helm. (In the mid-'70's, TSOP, "The Sound of Philadelphia," would be all the rage and this team was unstoppable, producing hit after hit ...

however, Dusty's next album, A BRAND NEW ME, while spawning the #22 title single, did even worse on the charts, stalling at # 107. (In England, the title was changed to FROM DUSTY, WITH LOVE ... after the failure of Dusty's "new sound" on the MEMPHIS album, they must have figured it'd be a tough sell for yet another "brand new Dusty".) A BRAND NEW ME would turn out to be DUSTY SPRINGFIELD's last trip into the American Top 40 for nearly 20 years. DIDJAKNOW?: After the critical acclaim of Dusty's recording her album in Memphis, several other artists attempted the quest of gold by recording there ... most notably the return to Memphis of their most famous citizen, ELVIS PRESLEY! However, ALL of Dusty's "Memphis" vocals were actually recorded in New York City!!! It had always been her style in the past to record her vocals last after all the other musicians had gone home. She would turn the music up so loud in the studio that the engineers and producers couldn't even hear her sing ...

and then, with the mike right up in her face, turn out a letter-perfect vocal. She would then analyze that vocal phrase by phrase, doing countless re-takes until it sounded right to her ears. Despite the pleas of her producers (who felt they already had a perfect track), Dusty would sometimes re-record as little as one word 40-45 times to get just the sound she wanted. Regardless of what the record label may have said, Dusty really DID produce her own records!!! In all of the previous recording sessions held in Memphis featuring this crackerjack studio band, the musicians had been most successful by establishing the "groove" right there in the studio, with the vocalist finding their own way to mesh with that "groove" ... literally creating the final sound on the recording floor. Dusty simply could not adapt to this style and redid ALL of her "Memphis" vocals in New York City! Dusty had spent her whole life seeking the attention of her closest family and friends. From a very early age, she would deliberately hurt herself ... purposely touching hot tea kettles on the stove to burn her hands or cutting herself with any variety of sharp objects.

Those meeting her for the first time or new to her inner circle found Dusty to be suicidal ... but the truth is that Dusty always knew when to stop ... just how far to take this personal abuse. She made countless trips to the hospital (and psychiatric wards) over the years, always seeking the complete attention of those closest to her. This trait coupled with the relative failure of her two U.S. albums and the obsessive journalistic need to exam her alternative-style sex life, led Dusty to move to the United States in 1970. She began frequenting gay clubs here (much more openly than she could at home) and developed long, deep, lifetime friendships with other publicly "open" celebrities like ELTON JOHN and BILLIE JEAN KING. One of Dusty's running jokes was that she could always tell when her career was hot again because the premier female impersonators were including her in their act. In 1970 she said "I couldn't stand to be thought to be a big butch lady but I know that I'm as perfectly capable of being swayed by a girl as by a boy," publicly "outing" herself again in the media.

In the early '70's, she began having vocal problems, many of which could be attributed to a lack of self-confidence. She had also put on weight and appeared bloated and blotchy and was drinking heavily. Her drug usage had also increased. She sang background vocals on ELTON JOHN's great TUMBLEWEED CONNECTION album as well as his #1 single THE BITCH IS BACK. She was devastated when ELTON selected KIKI DEE (one of Dusty's former back-up singers) to duet with him on his #1 Hit DON'T GO BREAKING MY HEART. By the mid-70's, she was living next door to the legendary PHIL SPECTOR, one of her first musical inspirations. After two lackluster albums for Atlantic, she moved to ABC / DUNHILL and producers LAMBERT AND PORTER, who were in the process of resurrecting the career of THE FOUR TOPS after their long association with Motown Records.

Whereas THE FOUR TOPS ran up a string of ABC / Dunhill "comeback" hits like KEEPER OF THE CASTLE, AIN'T NO WOMAN LIKE THE ONE I'VE GOT, ARE YOU MAN ENOUGH, SWEET UNDERSTANDING LOVE and ONE CHAIN DON'T MAKE NO PRISON, all Top 40 Hits, Dusty never even hit the charts during her ABC affiliation. By the end of 1973, she had checked herself into Alcoholics Anonymous. Career-wise, she was at an all-time low. She had had only two chart singles on either side of the ocean during the entire decade: her version of THE RASCALS' tune HOW CAN I BE SURE peaked at #36 in 1970 and a tune called BABY BLUE stalled at #61 in 1979, both on the UK charts only. By 1980, DUSTY was back to drinking heavily and had added the anti-depressant drug Nardil to her daily diet. She was also taking Quaaludes and Cocaine and, for the first time in her life, took up smoking ... to the tune of three to four packs of cigarettes a day.

She moved to Toronto to be with CAROLE POPE of the Canadian band ROUGH TRADE, with whom she was also having a relationship. She would do occasional appearances there and often left with lesbian groupies. By 1981, she was flat broke ... and sold her prized Rhythm And Blues Record Collection to GRAHAM NASHfor money she would eventually spend on cocaine. As if Dusty's career couldn't sink any lower, she spent most of 1981 and 1982 lip-synching her hits in gay bars. The following year she checked herself back into rehab at a foundation called The Friendly House. Here, she met the woman who would eventually get her off drink for good. PEGGY ALBRECHT saved Dusty's life ... by the end of 1983, she was finally sober, an astonishing ten years after her first Alcoholics Anonymous meeting. Dusty decided she wanted her career back ... if she wasn't able to reclaim her position as one of the premier female vocalists in the world, she would at least let people know that she was still around. She also decided to pursue the acting career that inspired her to get into show business in the first place.

(Back in the early '60's, she determined that there were too many female actresses competing for the same parts and decided to try to make it as a singer in what she felt was a "less-crowded" field!) Near the end of her rehabilitation, she met a singer know simply as TEDDA, whom she was immediately stricken with. The relationship was turbulent to say the least. Dusty had always had wild parties, inviting guests to smash plates and china, partake in massive food fights and trash hotel rooms in ways THE WHOonly dreamed of. This new relationship took all of this to the limit ... and then some ... yet Dusty decided that she wanted to marry Tedda. A lesbian wedding was not yet a common practice and special arrangements had to be made. Before the ceremony was over, they were already fighting and hitting each other ... Dusty would later say that the ceremony should have kicked off with the phrase "Dearly beloved and barely tolerated." Things got much worse over the next several weeks. One night, Tedda hit Dusty across the face with a saucepan, smashing her mouth and knocking out some teeth. Dusty came back and whacked Tedda over the head with a skillet.

According to DANCING WITH DEMONS: THE AUTHORIZED BIOGRAPHY OF DUSTY SPRINGFIELD, written by PENNY VALENTINEand VICKI WICKHAM (Dusty's long-time manager), "Dusty's face would never fully recover. Even though Helene (her friend) lent her money to have plastic surgery done on her mouth in New York, Dusty chose the cheapest job possible and spent the rest on drugs. From then on, her once expressive face looked frozen and the smile that had enchanted everybody who met her was tight and lopsided." After ending the relationship, Dusty helped KAREN TOWNSHEND, wife of WHO guitarist PETE TOWNSHEND, set up a charity to support battered wives. In the late '80's, Dusty was approached by THE PET SHOP BOYS about recording a "duet" for their new album. (THE PET SHOP BOYS were hot, having already scored five straight Top 20 Hits in the UK, including the #1 Hits WEST END GIRLS and IT'S A SIN ...

they would top the charts twice more with ALWAYS ON MY MIND and HEART.) They were also an openly gay duo and Dusty seemed a most logical choice to collaborate with. When Dusty asked what type of sound they were looking for, they simply told her to "just sing like you" and the result, WHAT HAVE I DONE TO DESERVE THIS, topped the charts on both sides of the Atlantic Ocean. Dusty's career was hot again ... solo singles like NOTHING HAS BEEN PROVED, IN PRIVATE, REPUTATIONand ARRESTED BY YOU all hit the British charts. Plans were made for her to return to America in 1994 to record DUSTY IN NASHVILLE, a 26 year follow-up to her MEMPHIS album ... but it never happened. Dusty was diagnosed with cancer. It was first discovered in her breast and treatment seemed to cure it. In fact, by the mid-'90's, there was also talk of a THREE DIVAS tour featuring Dusty, DIONNE WARWICK and PETULA CLARK in an obvious attempt to cash in on the success of THE THREE TENORS. Again, it never happened. The cancer was back and had spread to her bones.

In 1998, it was falsely reported in the press that Dusty had sold her back catalog for $6,000,000 ... in fact, she had sold her future royalties for $750,000, with the money to be used to live out her final days as comfortably as possible. The following year, it was announced that Dusty would be inducted into The Rock And Roll Hall Of Fame. Sadly, she died on March 2nd, just 16 days before the ceremony. Long-time friend ELTON JOHNaccepted the award on her behalf. We hope you have enjoyed our special feature on DUSTY SPRINGFIELD. DUSTY left us with some GREAT music that has stood the test of time. Contrary to what she may have believed, she truly was one of a kind. Here are some of the original comments we received when this Dusty Springfield Series first ran in Forgotten Hits back in 2004: Hi there: Although I already have a large collection of Dusty's music, I look forward to this week's salute to her for many reasons ... not the least of which is the information you provide along with the fine music.

"Silver Threads and Golden Needles" remains my personal favorite song by Dusty; if there's a "flaw" anywhere in that song, I sure haven't found it in 40 years of "constant airplay" on my various turntables and CD players. To this day, the opening notes make me smile, lean back and listen, and get transported once again. Odd factoid about Dusty ... I read after her death a couple of years ago that she'd left a provision in her will that her cat was to be given caviar every day for the rest of its life. Thanks for all you do ... Brad Boy, you just NEVER hear SILVER THREADS AND GOLDEN NEEDLES by THE SPRINGFIELDS on the radio anymore ... yet ANOTHER Top 20 National Hit erased and ignored by these "know it all" programmers. (Boy, in hindsight it sure does sound a lot like a SEEKERS record! Play this one back to back with I'LL NEVER FIND ANOTHER YOU and you'll see what I mean!!!

Of course, ANOTHER reason could be the fact that this #4 SEEKERS Hit from 1965 was written and produced by DUSTY's brother TOM SPRINGFIELD!!!) kk When I think of Dusty Springfield, I think of Wishin' and Hopin' ... that song reminds me of Rawhide ... The cook for the Drive was Wishbone ... Now ... how is THAT for word association? LMVO Ron The stuff on Dusty Springfield is just plain GOOD! Thanks. Hil Thanks, Hil ... I appreciate that! (kk) Thank you for featuring Dusty Springield. I have always liked her music. My favorite song from her has to be The Windmills Of Your Mind. I have several of her CD's, but I don't remember ever hearing "I Don't Want To Hear It Anymore." You are right ... it IS a great track! :) Flowrsong DUSTY's version of I DON'T WANT TO HEAR IT ANYMORE was the PRIZE discovery of putting together this piece ... I LOVE it!!! (kk) It IS a GREAT song, but her version pales in comparison to Jerry Butler's take on it.

His version bombed, too (it only got to #95 in the summer of 1964). Ping Wow, I didn't realize this song went back that far ... I never really think about RANDY NEWMAN being around during "The BEATLES Years"! (LOL) I will have to give this one a listen! (kk) >>>We decided to tell the story of DUSTY SPRINGFIELD, focusing more on her career and, if not completely downplaying her demons and idiosyncrasies, at least putting them all into one place and then getting back to the music that we all fell in love with. (kk) you made it perfect by doing it that way :) DominoGal Wow! Dusty's life really does have a sad ending, does it not? For sometime I've thought of her life as 'bitter sweet', but now I realize that it was much more bitter than sweet. Nonetheless, she has always been and still remains my favorite female singer. In many respects I appreciate her full, mystifying voice so much more now that I recognize a measure of the sorrows she endured.

Thank you Kent, PING, and BRITINVLVR for the materials you have added to this tremendous series. A question: At the time of Dusty's death I think that I recall her funeral being televised. On PBS or BBC perhaps? This occurred at such a hectic time of my own life that I was unable to pursue it. This series has rekindled my interest so I ask if anyone is aware of the broadcast and how a copy may be obtained. Many thanks, Scott Tenere In Vividus Sonus Wow ... I'm not aware of anything being televised ... anybody out there able to shed some light on this? Thanks for the kind words ... I learned a lot myself about DUSTY SPRINGFIELD during the course of doing the research for this series! (kk) This may not be your cup of tea, but when I heard it today, I couldn't stop playing it. I love a song with a certain amount of longing and angst. The never ending pursuit of something we don't have. Coupled with the smokey soulful sound of Springfield's voice ... ahh. It hits the spot like a cold beer on a hot afternoon.

I wondered who were the writers of the song, so I did a search on Mark Barkan & Vic Millrose. Barkan had also written "Pretty Flamingo" recorded by Manfred Mann and had co-written (along with Ritchie Adams) the Banana Splits theme song. (lol) Millrose collaborated with Tony Bruno and Bob Elgin on "Last Chance To Turn Around," recorded by Gene Pitney in 1965. I have both of those songs. Unless you're a big Manfred Mann or Pitney fan, these songs aren't all that great. Suzanne Suzanne then sent us a copy of the song and lyrics to I'LL TRY ANYTHING, a #29 Hit for DUSTY SPRINGFIELD back in 1967. Just prior to running our DUSTY SPRINGFIELD Series we featured a recording by BARRY MANILOW of a song called SANDRA, ironically about a woman accidently cutting herself in the kitchen one day. We then received this email from MFPING: Interesting coincidence that you recently featured this song in Forgotten Hits and now you're doing a series on Dusty Springfield.

The very first version of this song I heard was by Springfield when it was used on a local public affairs program about housewives suffering from depression (this was back in the mid-70's). I tried for years to find the song with no luck, and eventually found the Manilow version instead. (I recently got a hold of Dusty's version courtesy fo DJF0321.) I have to say that I immediately preferred his version over hers, as good as hers is. "Sandra" remains one of only two Manilow songs I can stomach (the other being "Ships"). If you've never heard Dusty's version of "Sandra", I can send it along to you (as soon as I find the CD where I copied it, lol). Ping Actually, I have it, too, and ALMOST used it in the series ... but the MANILOW version just tied in so perfectly with the OTHER "lovelorn" series I was doing that I used his instead. It still freaks me out to hear Dusty singing about the wife who "cut herself ... quite by mistake" in light of her own personal experiences.

(kk) The DUSTY SPRINGFIELD Hit List Here's a recap of how DUSTY's records performed on the Pop Charts, both here and abroad: DUSTY SPRINGFIELD remains one of the greatest, most unique female vocalists of our time.

Her Top 40 Hit list on both sides of the Atlantic are most impressive: 8/61 - BREAKAWAY (UK as THE SPRINGFIELDS) #31 11/61 - BAMBINO (UK as THE SPRINGFIELDS) #16 8/62 - SILVER THREADS AND GOLDEN NEEDLES (US as THE SPRINGFIELDS) #20 12/62 - ISLAND OF DREAMS (UK as THE SPRINGFIELDS) #5 3/63 - SAY I WON'T BE THERE (UK as THE SPRINGFIELDS) #5 7/63 - COME ON HOME (UK as THE SPRINGFIELDS) #31 11/63 - I ONLY WANT TO BE WITH YOU (UK, #4; US, #12) 2/64 - STAY AWHILE (UK, #13; US, #38) 6/64 - WISHIN' AND HOPIN' (US #4) 7/64 - I JUST DON'T KNOW WHAT TO DO WITH MYSELF (UK, #3) 9/64 - ALL CRIED OUT (US

, #31) 10/64 - LOSING YOU (UK, #9, US #84) 2/65 - YOUR HURTIN' KIND OF LOVE (UK, #37) 9/65 - IN THE MIDDLE OF NOWHERE (UK, #8) 9/65 - SOME OF YOUR LOVIN' (UK, #8) 1/66 - LITTLE BY LITTLE (UK, #17) 3/66 - YOU DON'T HAVE TO SAY YOU LOVE ME (UK, #1; US, #3) 7/66 - GOING BACK (UK, #10) 9/66 - ALL I SEE IS YOU (UK, #9; US #20) 2/67 - I'LL TRY ANYTHING (UK, #13; US, #29) 3/67 - GIVE ME TIME (UK, #24; US, #60) 7/67 - THE LOOK OF LOVE (US, #22) 7/68 - I CLOSE MY EYES AND COUNT TO TEN (UK, #4) 11/

68 - SON OF A PREACHER MAN (#9, UK; #10, US) 5/69 - THE WINDMILLS OF YOUR MIND (#22, US) 11/69 - A BRAND NEW ME (#22, US) 9/70 - HOW CAN I BE SURE (#36, UK) 12/87 - WHAT HAVE I DONE TO DESERVE THIS?

(with THE PET SHOP BOYS) #1 US; #2 UK 2/89 - NOTHING HAS BEEN PROVED (#16, UK) 12/89 - IN PRIVATE (#14, UK) 5/90 - REPUTATION (#38, UK) Here are two more quick DUSTY SPRINGFIELD stories that should give you some insight into the type of person she really was. Both come from the VALENTINE / WICKHAM book DANCING WITH DEMONS and show a little bit of the "Diva" side of Dusty (with a sense of humor.) *** DUSTY had a real passion for speed ... she loved to drive fast ... unsafely so ... probably part of her deep-rooted death wish that haunted her most of her life.

(The only times that DUSTY was ever truly happy was when she was performing in front of an audience and then, if she sensed ANY rejection or unhappiness, she would brood about it for weeks afterwards.) Her longtime friend and companion NORMA TANEGA once explained DUSTY's frustrations and inner demons this way: "She wanted to be straight, she wanted to be a good Catholic girl and she wanted to be black." Instead, she saw herself as the opposite of everything she ever really wanted and needed to be. In DANCING WITH DEMONS, they recount the story of the time that Dusty (and her close friend Helene) traveled to Ireland in an effort for Dusty to get closer to her roots. Dusty was practically blind without her glasses yet rarely drove less than 80 miles per hour. Helene says "Dusty refused to drive less than eighty miles an hour around tiny country lanes full of hedge-lined blind corners" and she was not wearing her glasses on this particular day. Helene could not bear to look out of the front window. "I do have good peripheral vision and it was so frightening in case something was coming round that hedge.

We argued through every village because her instructions always gave you multiple choices and I was usually too terrified to concentrate." Sometimes, they would pass so close to the walls of houses that Helene, with her side window down, would have curtains from passing kitchens flapping in her face. They got lost, drove round the same villages three times and fought. Once, as they tore through a town, there was a loud metallic click."What was that?" asked Dusty."It was your side view mirror hitting the side view mirror of the other car," replied Helene."Well ... he was going too fast," Dusty reasoned. "Dusty ... he was parked! It was a PARKED car we hit!" Helene explained. *** Although always portrayed as one, Dusty was never quite a "diva" in the sense of flying around the world in her private Lear Jet and having her servants and subordinates wait on her hand and foot. If anything, she was more a creature of habit. When touring or visiting a particular city, she would insist on having the exact same hotel room as the last time she was there ... it felt more like "home" to her.

(She probably had had a wild party there last time anyway, complete with food fights and shattered glass ... these were Dusty's passions.) She liked that sense of familiarity. When it became standard practice to visit the hospital for chemotherapy sessions, she was appalled to come in one morning and find another patient in "HER" hospital room. She told the nurses that she wanted the patient moved straight away. When the nurses explained to Dusty that this patient was much sicker than she was, she responded without a moment's hesitation, "Yes, but I've had more hit records than HE has." Copyright Kent Kotal / Forgotten Hits, 1998 - 2017 ... All rights reserved

Question: What was the title of the only UK No. 1 hit for Dusty Springfield ?
Answer: YOU DON'T HAVE TO SAY YOU LOVE ME