#45 A Girl Called Dusty by Dusty Springfield

Right, after the sheer annoyance factor that was Solomon Burke’s Rock ‘N’ Soul it is now time to shift the focus onto the next album. With the appearance of A Girl Called Dusty it is surely of note that this is the first album since Miriam Makeba’s eponymous album. That’s a total of 19 albums which equals about 4-5 years! Such a figure just makes the appearance of this album all the more remarkable, especially since it’ll take another 30 albums until I reach the next one. So considering this musical landscape that she inhabited, as well as spearheading the female contingent of The British Invasion, it is clear that Dusty Springfield is not to be taken lightly.

With all that being said what we have here may in fact be one of the first acclaimed female voiced pop albums as we would recognise it by today’s standards. Tracks on here range from breezy to power ballads all with the subtle tinge of soul and Motown. So while she was obvious an impressive woman to be able to get her foot in the door it is nice to know that there was a more playful side that was able to be show in tracks like Mama Said while maintaining the artistic prestige on Anyone Who Had a Heart. While she is also noted as being the voice that has become associated as the inspiration for the likes of Duffy it is fair to say that when it comes to this that there is no need to accept any imitations. Especially when they choose to caterwaul quite a few of their album tracks.

While I am quite aware that Dusty In Memphis was meant to be her masterpiece I would have to admit that this album comes mighty close to that status. In A Girl Called Dusty there are a nice variety of songs, granted they are all covers, but still there is plenty of variation in the material that she has decided to include. This is rather refreshing for this era, something which is now expected of major artists, since major albums could be made with little variation around the theme. An example of this in the albums that I have reviewed are the Frank Sinatra ones where both of them have an agenda as specifically specified in his titles and he rigidly sticks to them. Dusty, however, is here standing on her soapbox in her high-heels (due to being 5’3’’) and is proclaiming to the world that there is now a woman on the scene and she can play this pop-game better than any of the boys.

The production values here are also something to be noted. The productions here resemble Phil Spector’s Wall Of Sound technique but are slightly muted in comparison as a means to completely showcase Dusty’s vocals. This can be witnessed on Will You Love Me Tomorrow where she sings as clear over layers of stings, percussions and backing singers.

This is an album that is truly knee-deep in classic songs. I would actually challenge anyone to go through this album and not recognise at least 3 songs from this, my personal count was six. When you listen to songs like Wishin’ And Hopin’ and Twenty-Four Hours From Tulsa then consider that this was actually a debut album this effort becomes so laudable. This is also not touching upon the lyrical gymnastics that she appears to perform here that veer from one end to the other. Through looking at the song choices her on this album the image that is portrayed is a proto-feminist who will not be tied down and demands to be treated as she would want to treat her partner and as such remain her own woman (You Don’t Own Me) while still advocating smothering your lover with affection to show that you care (Wishin’ And Hopin’). Not so bad for a girl called Dusty is it?

With the listening of Sam Cooke’s Live At Harlem Square Club the bar was well and truly lifted, and Dusty doesn’t only clear this bar but she pole-vaults clearly over it. This is definitely the best album that I have listened to on this list. This is not only because of the sheer versatility of the artist but the guts for her to include such a song as You Don’t Own Me on a debut release and live to tell the tale. Not only that but have a long and successful career that resurfaced again and again with the help of contemporary artists such as The Pet Shop Boys. She was the dawning of a new breed of female artist, and it took 4-5 more years for the repercussions to be well and truly felt in the music business. Dusty Springfield, I salute you.

10.0/10

Fab Four:
You Don’t Own Me
Twenty-Four Hours From Tulsa
Anyone Who Had A Heart
Wishin’ And Hopin’