Customer Reviews

Show Must Go on

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I've been a huge fan of Shirley Bassey since I was a child and have almost every album she has recorded.This is one of the best albums she has ever recorded.Her voice is stronger than ever and she now has a control that seemed to be missing in the last few years.Although I never cared for the original versions of several of the songs on this album,in Miss Bassey's hands (along with brilliant arrangements and production values)I can appriciate the songs and actually love them now.My favorite cuts are "Slave To The Rythm","All Woman", "You'll See" ,"One Day I'll Fly Away"(haunting) and of course "The Show Must Go On".

A primer on how to remain fresh and exciting after decades in the pop spotlight. Dame Shirley covers contemporary material from The Police, Pretenders, Grace Jones, Lionel Richie, and more with stylish arrangements and bravura performances that make these songs completely her own. And anyone who needs a reminder of just how sexy a 60-year-old woman can be need only check out the back cover and booklet photos!

Sexy Bassey does it again!! Yes, she knows how to keep the show going on. In this grand orchestrated Album Shirley looks exquisite and sounds great. Favorite songs are: You'll see, All Woman, He kills everything ( which has the feeling of Goldfinger and Moonraker...) The most touching songs are I'll stand by you and ofcourse the show must go on. Dynamic. Bravo!

Recorded in 1996, this is Bassey's latest studio recording at the time of writing. It is her best album in years, and features her interpretations of current pop standards. Highlights in the 14 tracks include "You'll See" "Hello" "Slave To The Rhythm" "Baby Come To Me" and "One Day I'll Fly Away". This album has a more laid back sound compared to her recent cd's. Recommended to Bassey fans everywhere!.

Well, let's face it, If you are a Dame Shirley Bassey fan, you cannot have too many Shirley CD's. I have all the albums, I transfered all the albums to CD, and I've purchased many new CD's. I saw Goldfinger and fell in love with a singer. I started buying albums and a record department manager told me she was coming to Detroit. Guess what, I had to see her and I did, what an experience. I recorded several interviews and shows from TV and then I bought a few DVD's, I relived my first experience seeing her, now I'm planning to travel to Europe just to see her. She may be 70, just a few years older than me, but she'll always be young. What a voice.

This is one of the best Shirley Bassey CD's ever...It's amazing her vocal dramatics and her tonal quality is unsurpassed. She could give Streisand and Celine Dione a run for their fame anytime.

You needn't go any further in looking for perfection. This is what all "Diva's" should aspire to be!

I was introduced to bits and pieces of this 'long-ago' CD (recorded in the mid 90s) as a result of playing around on YouTube. And I saw videos of "Slave to Rhythm" and "Can I Touch You There?" - and I was intrigued. (Plus the Dame looked fantastic!) The CD, which I bought used, is great. I've always thought that she could 'cover' anyone's song - and this CD proved me right. Including the cuts, above, "He Kills Everthing (You Love)", "You'll See", "All Woman" and "Baby Come To Me" are standouts.

Miss Bassey's most recent studio album has her tackling contemporary material originally recorded by artists as diverse as Grace Jones ("Slave To The Rhythm"), the Pretenders ("I'll Stand By You") and Queen (the title track). Bassey has a special gift for interpreting (and enhancing) the material of other artists. While some of the material is ill-suited to Bassey's hyper-dramatic stylings, when she hits, she scores a home-run. In Bassey's hands, Madonna's flaccid "You'll See" becomes an anthem of self-determination, and Bassey renders it with her trademark bravura. "He Kills Everything" is a grandiose, brassy spy movie theme in the tradition of "Goldfinger" and "Diamonds Are Forever". The true revelation here is when Bassey uncharacteristically tones it down a few notches. She is elegantly restrained on Lisa Stansfield's "All Woman" and she adds warmth to Lionel Richie's "Hello". She even has a little fun with the playfully raunchy "Can I Touch You There".

However, at other times, the usually dynamic Bassey sounds a little bored. Leo Sayer's "When I Need You" and Roberta Flack's "Where Is the Love" don't work so well. Overall, this CD is a must for fans but will not serve as a good introduction to the incredible Miss Bassey for the uninitiated.