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Mary Isobel Catherine Bernadette O'Brien OBE (16 April 1939 – 2 March 1999), better known by her stage name Dusty Springfield, was an English singer.With her distinctive mezzo-soprano sound, she was a popular singer of blue-eyed soul, pop and dramatic ballads, with French chanson, country, and jazz in her repertoire. During her 1960s peak, she ranked among the most successful British female ...
FILE "08 - Tom Jones , What's New Pussycat .wav" WAVE INDEX 01 00:00:00 TRACK 09 AUDIO TITLE "I Say A LIttle Prayer" PERFORMER "Dionne Warwick" INDEX 00 02:18:20 FILE "09 - Dionne Warwick , I Say A LIttle Prayer.wav" WAVE INDEX 01 00:00:00 TRACK 10 AUDIO TITLE "The Look Of Love" PERFORMER "Dusty Springfield" INDEX 00 03:03:57
10 de feb. de 2023 · Dusty Springfield. Dusty Springfield and Burt Bacharach "A House is Not A Home" One of greatest ever voices from the sixties was Dusty Springfield, ... It was on 'What's New Pussycat?' where Burt initially collaborated with the Welsh dragon Tom Jones in 1965 for the film of the same name.
Dusty Springfield - The Look Of Love 4:17 06. Etta James - At Last 3:05 07. Tony Bennett - (I Left My Heart) In San Francisco 2:54 08. Perry Como - Papa Loves Mambo 2:45 09. Tony Christie - Is This The Way To Amarillo 3:14 10. Tom Jones - What's New Pussycat? 2:14 11. Julie London - Fly Me To The Moon (In Other Words) 2:35 12. Alma Cogan ...
9 de feb. de 2023 · "What's New Pussycat?," Tom Jones. ... "The Look of Love," Dusty Springfield. Bacharach penned "The Look of Love" for Casino Royale in 1967, reportedly inspired by the sight of Ursula Andress.
18 de mar. de 2022 · Dusty Springfield's birth name was Mary Isobel Catherine Bernadette O'Brien. She was born on April 16, 1939 in West Hampstead, London. She was the second child of parents Gerard Anthony 'OB' O'Brien (1904–1979) and Catherine Anne 'Kay' O'Brien (1900–1974), both of Irish descent. Her older brother, Dionysius PA O'Brien, was later known as ...
12 de may. de 2011 · What's New Pussycat can be seen as the first of a Bacharach trilogy continuing with After the Fox (1966) and concluding with Casino Royale (1967). All three scores have a similar compositional signature, with Bacharach approaching film scoring much like he did songs, with quirky chord changes and time signature shifts but an unerring sense of melody.
