Something in Your Eyes Video

[Dave]

Yes, isn't Longings great? Glad it was released and suprised with the top New York musicians (Cameo was done on the West Coast and didn't seem to want to buy it at first) on it that it was kept in the vault for so long... As for Cameo, I equally enjoy it, especially paired with its successor...

Real Tear-Jerkin' albums, as well...!!!



Dave

 

[DJS]

That last P.S is a coincidence !

Living With Out Your Love

I can just hear in my head Richard singing

Cause I'm living without your love
And I'm all alone for the first time
And it doesn't seem to be a dream
A dream that will be over.

From the song Calling Your Name Again - Track 6 on Time

Music Richard Carpenter, Lyrics Richard Marx

 

[Dave]

There is actually a '45' of a "Theme Song" from the 1978 movie Corvette Summer, which Dusty sang on (actually arranged by ARTIE BUTLER...!) which I forgot the name of and I'm not even sure what B-Side was; it was a Double-Sided Promo, also on the United Artist label... I don't think it really had a Soundtrack; never saw or heard of one, even Online... (Wonder what any "furthur" collaboration(s) with Artie could'a or would'a been like...)

I've never heard Dusty Springfield's White Heat ('cept for maybe sampling it in a store) and with it being made in 1982, seems to be an attempt at Dance Music (or some sort of "modernization"...) of which the public probably barely took notice...

The more recent-collaborations with Richard and The Pet Shop Boys seemed to have a bit more wit and charm and the direction Dusty seemed to go, was more of something she could capitalize on in a more positive way...



Dave

 

[Chris_Sydney]

It's a shame 'White Heat' didn't get more attention because it really is a great record. Certainly left of centre for Dusty, and much more of a departure than say Karen's solo album was from her previous output, but one of the highlights of her catalogue. The reviews at the time were extremely favourable. NME was particularly glowing:

Truly, this is the age of resurrection. Marvin's Midnight Love, Curtis' Honesty, and now Dusty's White Heat. Five years after It Begins Again marked an official--and patchy-- comeback, Dusty Springfield has made a record that rivals the power and glory of her awesome '60s singles.

The surprise is she's forsaken the soft soul/MOR tack of her last two LPs for a driving surge of syths, guitars and heavy drums. It works, too--White Heat roars with a relentless energy that galvanizes Dusty into her most confident and committed singing for years. That's a real bonus, because Dusty Springfield is about the best pop singer Britain's ever produced.

She hits peak form so many times on this LP: on the rapturous Philly soul of "Don't Call It Love," a beautiful track that unfolds with the cool urgency of vintage Detroit Spinners; on Elvis Costello's "Just A Memory" (cheekily retitled "Losing You"), where the fragmentary feel of the original is transformed into a stunning blues drama; on the breathy disco rampage of "Donnez Moi," the sheer poise of the vocals inverting the lyrics' banal message of need.

Three surefire hits, I'd say; and there are more highlights, too. The romantic "Time And Time Again" and the catchy pop of "Gotta Get Used To You" are more typical Springfield fare, but the closing "Soft Core" is a different kettle of fissure--a stark ballad of sexual ambivalence on which her voice superbly underscores a queasy feeling that's equal parts desire and despair.

White Heat is essentially modern music: the force of those great '60s melodramas has been reignited in an '80s context of syths, voice treatments and upfront sexuality. It's possibly a personal risk--a huge leap away from the relative security of the cabaret circuit into the dangerous currents of pop commercialism--and perhaps that's why White Heat also feeds on a tension that grips from start to finish, and pulls you through the odd hard rock excesses that mar "Sooner Or Later" and "Blind Sheep," where the voice is mixed curiously low.

White Heat--its occasional heaviness apart--is a brave and brilliant success: a white pop firmly rooted (like nearly all the best white pop is) in a devout affection for black music. And Dusty Springfield, co-producer with Howard Steele and longtime soul aficionado, must take much of the credit for this result.

I can't think of anyone I'd rather welcome back to pop stardom; and after White Heat I can't think of anyone likely to come back with such style and power and grace.

Graham Locke
New Musical Express,
12 March, 1983


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