Dusty Springfield - Dusty In Memphis (2LP, 45RPM, 180g, Analogue Productions)
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Dusty Springfield – vocals
The Sweet Inspirations – backing vocals
Reggie Young – guitar, sitar
Tommy Cogbill – bass guitar, guitar on "Don't Forget About Me"
Bobby Emmons – organ, electric piano, congas on "The Windmills of Your Mind"
Bobby Wood – acoustic piano
Gene Chrisman – drums
Mike Leech – congas on "Don't Forget About Me" and "In the Land of Make Believe"
Ed Kollis – harmonica
Arif Mardin – arranger, strings arranger, horns arranger
Tom Dowd – arranger, horns arranger
Gene Orloff – conductor, arranger
2 LP, standard sleeve
Limited Edition
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 45 RPM
Size : 12'’
Stereo
Studio
Record Press : Quality Record Pressings
Label : Analogue Productions
Original Label : Atlantic
Recorded September 1968 at American Sound Studios in Memphis, Tennessee with vocal overdubbing at Atlantic Studios in New York
Engineered by Tom Dowd
Produced by Jerry Wexler, Arif Mardin, Tom Dowd
Remastered by Kevin Gray at CoHearent Audio
Originally released in 1969
Reissued in 2011
Tracks:
Side A:
- Just A Little Lovin'
- So Much Love
- Son Of A Preacher Man
Side B:
- I Don't Want To Hear It Anymore
- Don't Forget About Me
- Breakfast In Bed
Side C:
- Just One Smile
- The Windmills Of Your Mind
- In The Land Of Make Believe
Side D:
- No Easy Way Down
- I Can't Make It Alone
Awards:
Michael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Ranked 85/100!
Rolling Stone 500 Greatest Albums of All Time - Ranked 83/500
Rolling Stone 500 Greatest Songs of All Time - "Son of a Preacher Man" - Ranked 242/500
Inducted into the Grammy Hall of Fame in 2001
Number 171 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000)
TAS Super LP List! Special Merit: Informal
Stereophile February 2012 Recording of the Month
Reviews:
“Sometimes memories distort or inflate the quality of recordings deemed legendary, but in the case of Dusty in Memphis, the years have only strengthened its reputation. The idea of taking England's reigning female soul queen to the home of the music she had mastered was an inspired one. The Jerry Wexler/Tom Dowd/Arif Mardin production and engineering team picked mostly perfect songs, and those that weren't so great were salvaged by Springfield's marvelous delivery and technique. This set has definitive numbers in "So Much Love," "Son of a Preacher Man," "Breakfast in Bed," "Just One Smile," "I Don't Want to Hear About It Anymore," and "Just a Little Lovin'" and three bonus tracks: an unreleased version of "What Do You Do When Love Dies," "Willie & Laura Mae Jones" and "That Old Sweet Roll (Hi-De-Ho)." It's truly a disc deserving of its classic status.” AllMusic Review by Richie Unterberger
“Someone new to this record might not get the joke of its “aw shucks” cover. Fail to take it seriously at your own risk. Dusty in Memphis was, and remains, one of the great albums of the classic-rock era. Dusty Springfield was keeping up with the fast-moving times of 1968—she had a string of hits in the U.K. and U.S. unrivaled by any other female singer—but songs like “You Don’t Own Me” sounded old-fashioned by the late 60s. She signed with Atlantic Records, one of the hippest labels of the day, and headed for Memphis and the American Sound Studios to record her first all-R&B album.
There, Springfield micro-managed Atlantic’s Jerry Wexler in the studio regarding the choice of material and takes. During the recording sessions, she found time to recommend Atlantic sign a new band called Led Zeppelin. Her advice to Atlantic made the label wealthy, but her new LP proved a bit of a commercial fizzle and did not have the hoped-for impact on her career. However, it became a critical success and, years after its 1969 release, was rediscovered and elevated to iconic status, finding its way onto most every meaningful list of the era’s great rock LPs.
Every cut is impactful—from “Son of a Preacher Man” to “Just a Little Lovin’”—and the album filled with compositions from songwriting royalty, including Randy Newman and Gerry Goffin and Carole King. Dusty in Memphis has been sampled, copied, and given tribute countless times. Even its sound remains unique—the big, fat, lush sonics designed to worm their way into your self-conscious.
While Dusty in Memphis stands as Springfield’s masterpiece, her audiophile calling card became the song “The Look of Love” from the 1967 Casino Royale film score. Dusty in Memphis never struck anyone as audiophile fare—well recorded but not demonstration quality. The original LP shows music distributed left, right, and center, with little fill between the three areas and not much depth. But it’s a whole lot better than most of the era’s rock recordings and possesses enough dynamic range to shame 95% of 21st century releases.
Analogue Productions’ reissue functions as a case study in what careful remastering and good pressing can achieve—even if the single-jacket package means both 45RPM LPs get crammed into one space. Sonically, it doesn’t entirely erase the lack of fill, but adds such a three-dimensional frame to the picture that the holes begin to disappear. Additionally, it creates a much larger soundstage than found on the original, and the improved pitch stability makes it seem you’ve acquired a better turntable—not just a better pressing. It’s not as spectacular sounding as Shelby Lynne’s tribute album, Just a Little Lovin’, but the performances remain unparalleled.” Dennis Davis, Vinyl Reviews,
Ratings :
AllMusic : 5 / 5 ; Discogs : 4,76 / 5 ; Hi-Fi News : Sound Quality = 99% ; Michael Fremer : Music = 9/11, Sound = 9/11 ; Stereophile : Performance = 5/5, Sound = 5/5 ; Hi-Fi + : Recording = 10/10; Music = 10/10