Editing Dusty Springfield (section)

==Career==
=== 1958–1963: Career beginnings ===
{{main|The Lana Sisters|The Springfields}}
After leaving school, Springfield sang with Tom, her brother, in local folk clubs.<ref name="Welch">{{cite news |url=https://www.independent.co.uk/arts-entertainment/obituary-dusty-springfield-1078196.html |title=Obituary: Dusty Springfield |last=Welch |first=Chris |work=[[The Independent]] |date=4 March 1999 |access-date=27 June 2012}}</ref> In 1957, the pair worked together at holiday camps.<ref name="Welch" /> The next year, Springfield responded to an advertisement in ''[[The Stage]]'' to join [[The Lana Sisters]], an "established sister act", with Iris 'Riss' Long (also known as Riss Lana, Riss Chantelle) and Lynne Abrams (a.k.a. Lynne Lana), who were not actually sisters.<ref name="AMGLana">{{cite web |url={{AllMusic|class=artist|id=P1616081/biography |pure_url=yes}} |title=Lana Sisters |publisher=[[AllMusic]]. [[Rovi Corporation]] |access-date=27 June 2012}}</ref> Dusty adopted the stage name "Shann Lana" and "cut her hair, lost the glasses, experimented with makeup, (and) fashion" becoming one of the 'sisters'.<ref name="Gulla359">Gulla, p. 359.</ref>

As a member of the pop vocal trio, Dusty Springfield developed skills in harmonizing and microphone technique; she recorded, performed on television, and played at live shows in the United Kingdom and at United States Air Force bases in continental Europe.<ref name="rnb358" /><ref name="AMGLana" /> In 1960, she left the Lana Sisters and formed a folk-pop trio, [[The Springfields]], with Tom and [[Reshad Feild]] (both had been in The Kensington Squares), the latter of whom [[Mike Hurst (producer)|Mike Hurst]] replaced in 1962. The trio chose their name while rehearsing in a field in [[Somerset]] in the springtime and took the stage names Dusty, Tom, and Tim Springfield.<ref name=demons>Valentine and Wickham, p.</ref> Intending to make an authentic US album, the group travelled to [[Nashville, Tennessee|Nashville]] to record ''Folk Songs from the Hills''. The music Springfield heard during their visit–but particularly [[the Exciters]]' "[[Tell Him (Bert Berns song)|Tell Him]]", while in [[New York City]]–influenced her shift from folk and country towards pop rooted in [[rhythm and blues]].<ref name="demons" /> The band was voted the Top British Vocal Group in a ''[[New Musical Express]]'' poll in 1961 and 1962,<ref name="www.rocklistmusic.co.uk" /> although their two biggest hits were in 1963: "[[Island of Dreams (song)|Island of Dreams]]" and "Say I Won't Be There", both peaking at number five within five weeks of each other. The group appeared on the hip [[ITV (TV network)|ITV]] music series ''[[Ready Steady Go!]]'', which Springfield often presented in the earlier days of its run.<ref name="Gulla360">Gulla, p. 360.</ref>

Dusty left the band after their final concert in October 1963.<ref name="demons" /> After the break-up of the Springfields, Tom continued songwriting and producing for other artists, notably [[Music of Australia|Australian]] folk-pop group [[The Seekers]], producing, writing, and/or co-writing their four defining mid-1960s hits "[[I'll Never Find Another You]]", "[[A World of Our Own]]", "[[The Carnival is Over]]", and "[[Georgy Girl (song)|Georgy Girl]]". He also wrote additional songs for Dusty–most famously her 1964 UK hit "Losing You", with [[Clive Westlake]]–and released his own solo material.<ref name="AMGTom">{{cite web |url={{AllMusic|class=artist|id=P127598/credits |pure_url=yes}} |title=Tom Springfield – Credits |publisher=Allmusic. Rovi Corporation |access-date=1 July 2012}}</ref>

=== 1963–1966: Early solo career ===
[[File:I Only Want to Be with You - ad 1964.jpg|thumb|upright|''[[Cashbox (magazine)|Cashbox]]'' advertisement, 7 March 1964]] 
Dusty Springfield released her first solo single, "[[I Only Want to Be with You]]", co-written and arranged by [[Ivor Raymonde]], in November 1963.<ref>{{cite book |url=https://books.google.com/books?id=GOOs7dT9VlwC&q=dusty%20springfield%20Ivor%20Raymonde&pg=PA81 |title=The Impossible Dream: The Story of Scott Walker and the Walker Brothers |page=81 |first=Anthony |last=Reynolds |publisher=Jawbone Publishing Corp |access-date=10 August 2010 |isbn=978-1-906002-25-1 |date=10 September 2009 }}{{Dead link|date=November 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref><ref name="APRAOnly">{{cite web |publisher=[[Australasian Performing Right Association]] (APRA) |title='I Only Want to Be with You' at APRA search engine |url=http://www.apra-amcos.com.au/worksearch.axd?q=I%20Only%20Want%20to%20Be%20with%20You |access-date=28 June 2012}}</ref> The record was produced by [[Johnny Franz]] in a manner similar to [[Phil Spector]]'s "[[Wall of Sound]]";<ref name="20thcenturymasters">{{cite AV media notes |title=The Best of Dusty Springfield (The Millennium Collection) |last=Chin |first=Brian |year=1999 |others=Dusty Springfield |type=Inset |publisher=[[Mercury Records]] |location=USA |id=314 538 851-2}}</ref> it included rhythm-and-blues features like horn sections, backing singers, and double-tracked vocals along with [[String section|strings]], recalling Springfield's influences such as [[the Exciters]] and [[the Shirelles]].<ref>{{Cite book |last=Gulla |first=Bob |url=https://books.google.com/books?id=YNae0zmGow4C&q=i%20only%20want%20to%20be%20with%20you%20phil%20spector&pg=PA364 |title=Icons of R&B and Soul [2 volumes]: An Encyclopedia of the Artists Who Revolutionized Rhythm |date=2007-12-30 |publisher=Bloomsbury Academic |isbn=978-0-313-34044-4 |pages=363–364 |language=en}}</ref> In January 1964, the single peaked at no. 4 on the UK charts during a lengthy (for the time) 18-week run.<ref name=everyhit /> In December 1963, [[New York City|New York]] disc jockey "Dandy" Dan Daniel of [[WMCA (AM)|WMCA]] nominated the single as a "Sure Shot" pick of records not yet charted, preceding [[Beatlemania]]. The single debuted on [[Billboard (magazine)|''Billboard'']]'s [[Billboard Hot 100|Hot 100]] on the chart dated 25 January 1964, a week after the debut of [[the Beatles]]' first hit "[[I Want to Hold Your Hand]]" and in the same week as the debut of "[[She Loves You]]", positioning Springfield at the forefront  of the [[British Invasion]]. "I Only Want to Be with You" peaked at no. 12 during its ten-week chart run,<ref name=allmusic2>{{cite web |url=https://www.allmusic.com/artist/dusty-springfield-mn0000159214/awards |title=Dusty Springfield – Awards |publisher=Allmusic. Rovi Corporation |access-date=3 July 2012}}</ref><ref>{{cite web |url=http://www.musicradio77.com/wmca/surveys/1963/surveydec1163.html |title=WMCA Top&nbsp;Twenty-Five for December 11, 1963 |first1=Randy |last1=Price |first2=Peter |last2=Kanze |first3=Greg |last3=Lance |date=11 December 1963 |publisher=WMCA Good Guys (Allan Sniffen) |access-date=2 July 2012}}</ref> and ranked 48 in the year-end Top 100 of New York radio station [[WABC (AM)|WABC]].<ref name=WABC>{{cite web |url=http://www.musicradio77.com/Top1964.html |title=The Musicradio WABC Top&nbsp;100 of 1964 |publisher=WMCA Good Guys (Allan Sniffen) |access-date=2 July 2012}}</ref> The [[BBC]]'s 1964–2006 weekly chart-based music programme ''[[Top of the Pops]]'' debuted on 1 January 1964, with "I Only Want to Be with You" as the show's kick-off record.<ref name="musicianguide">{{cite web |title=Dusty Springfield Biography |date=24 July 2021 |publisher=Read steady girls! |url=http://readysteadygirls.co.uk/dusty-springfield/4524350811}}</ref> The single was certified [[music recording sales certification|gold]] in the UK,<ref name="The Book of Golden Discs">{{cite book |first=Joseph |last=Murrells |year=1978 |title=The Book of Golden Discs |edition=2nd |publisher=Barrie and Jenkins Ltd |location=London |page=[https://archive.org/details/bookofgoldendisc00murr/page/166 166] |isbn=0-214-20512-6 |url=https://archive.org/details/bookofgoldendisc00murr/page/166}}</ref> and its [[B-side]], "Once Upon a Time", was written by Springfield.<ref name="APRAOnce">{{cite web |publisher=Australasian Performing Right Association (APRA) |title='Once Upon a Time' at APRA search engine |url=http://www.apra-amcos.com.au/worksearch.axd?q=Once%20Upon%20a%20Time |access-date=28 June 2012}}</ref><ref name=musicianguide />

Springfield's debut solo album ''[[A Girl Called Dusty]]''–featuring mostly covers of her favourite songs–was released on 17 April 1964 in the UK (but not in America).<ref name=mcmillan /> Tracks included "[[Mama Said (The Shirelles song)|Mama Said]]", "[[When the Lovelight Starts Shining Through His Eyes]]", "[[You Don't Own Me]]", and "[[Twenty Four Hours from Tulsa]]".<ref name=musicianguide /> In May 1964, the album reached no. 6 in the UK–one of only two of her Top Ten non-hits albums.<ref name=everyhit /> After "I Only Want to Be with You", she had five more singles chart in 1964, with just "Stay Awhile" registering as a transatlantic success (UK no. 13/US no. 38). Its B-side, "Somethin' Special", was written by Springfield, later described as "a first-rate Springfield original" by [[AllMusic]]'s [[Richie Unterberger]].<ref name="APRASomethin">{{cite web |publisher=Australasian Performing Right Association (APRA) |title='Somethin' Special' at APRA search engine |url=http://www.apra-amcos.com.au/worksearch.axd?q=Something%20Special |access-date=28 June 2012 |archive-date=4 October 2013 |archive-url=https://web.archive.org/web/20131004221037/http://www.apra-amcos.com.au/worksearch.axd?q=Something%20Special |url-status=dead }}</ref><ref name="Unterberger">{{cite web |url={{AllMusic|class=album|id=r210315 |pure_url=yes}} |title=''Stay Awhile''/''I Only Want to Be with You'' – Dusty Springfield |last=Unterberger |first=Richie |author-link=Richie Unterberger |publisher=Allmusic. Rovi Corporation |access-date=28 June 2012}}</ref> She was quoted as saying "I don't really see myself as a songwriter. I don't really like writing... I just don't get any good ideas and the ones I do get are pinched from other records. The only reason I write is for the money–oh mercenary creature!"<ref name="Valentine66" /> The highest-charting of Springfield's 1964 releases were both [[Burt Bacharach]]-[[Hal David]] songs: "[[Wishin' and Hopin']]"–a US no. 6 hit which featured on ''[[A Girl Called Dusty]]''–and "[[I Just Don't Know What to Do with Myself]]",<ref name=musicianguide /> which in July peaked at no. 3 on the UK singles chart (behind the Beatles' "[[A Hard Day's Night (song)|A Hard Day's Night]]" and [[the Rolling Stones]]' "[[It's All Over Now]]").<ref name=everyhit /> The dramatic and emotive "I Just Don't Know What to Do with Myself" set the standard for much of her later material.<ref name=musicianguide /> In the autumn of 1964, Springfield peaked at no. 41 in the United States with "All Cried Out", but in her native Britain she hit big with "Losing You" (UK no. 9/US no. 91), which peaked in December–the same month in which the singer's tour of South Africa, with her group [[The Echoes (English group)|The Echoes]], was terminated following a controversial performance before an integrated audience at a theatre near [[Cape Town]], in defiance of the government's segregation [[Apartheid in South Africa|policy]]. Springfield was deported.<ref name=musicianguide /><ref name=rnb368>Gulla, p. 368.</ref> Her contract specifically excluded segregated performances, making her one of the first British artists to do so.<ref>{{cite web |url=https://www.sundaypost.com/fp/woman-who-blazed-a-trail-for-female-singers-in-the-music-world/ |title=The Story of Dusty Springfield, Part One: Star Blazed a Trail for Female Sigers in the Music Worl |last=Campbell |first=Craig |date=23 October 2019 |website=The Sunday Post |access-date=23 April 2021}}</ref> In the same year, she was voted the year's top British Female Singer in the ''[[New Musical Express]]'' readers' poll, ahead of [[Lulu (singer)|Lulu]], [[Sandie Shaw]], and [[Cilla Black]].<ref name=mcmillan>{{cite encyclopedia |title=Springfield, Dusty |encyclopedia=[[Encyclopedia of Popular Music]] |last=Larkin |first=Colin |author-link=Colin Larkin (writer) |year=1998 |edition=3rd |publisher=Muze UK |pages=5090–5092 |volume=7 |isbn=978-0-333-74134-4}}</ref> Springfield received the award again for the next three years.<ref name=musicianguide />
[[File:Dusty Springfield Sanremo 1965 (cropped).jpg|thumb|Springfield in 1965]]
In 1965, Springfield reached the UK Top 40 with three hit singles: "Your Hurtin' Kinda Love" (no. 37), "In the Middle of Nowhere" (no. 8) and the [[Gerry Goffin]]/[[Carole King]]-penned "Some of Your Lovin{{'"}} (no. 8),<ref name="everyhit" /> though none was included on her next UK album recorded with [[The Echoes (English group)|The Echoes]], ''[[Ev'rything's Coming Up Dusty]]''. Released in October 1965, the [[LP record|LP]] featured songs by [[Leslie Bricusse]], [[Anthony Newley]], [[Rod Argent]] and [[Randy Newman]], and a cover of the traditional Mexican song "[[La Bamba (song)|La Bamba]]".<ref name="Eder">{{cite web |url={{AllMusic|class=album|id=r49953 |pure_url=yes}} |title=''Ev'rything's Coming Up Dusty'' – Dusty Springfield |last=Eder |first=Bruce |author-link=Bruce Eder |publisher=Allmusic. Rovi Corporation |access-date=28 June 2012}}</ref> In November 1965, the album peaked at no. 6 on the UK chart.<ref name=everyhit /> Springfield's one appearance on [[Billboard (magazine)|''Billboard'']]'s [[Billboard Hot 100|Hot 100]] in 1965 was "Losing You", which stalled at 91.

From 28 to 30 January 1965, Springfield took part in the [[Festival della canzone italiana|Italian Song Festival in San Remo]], reaching a semi-final with "Tu che ne sai?" (English: "What Do You Know?") while failing to qualify for the final.<ref name="Italian" /> During the competition, she heard the song "Io Che Non Vivo (Senza Te)", performed by one of its composers, [[Pino Donaggio]], and separately by US country music singer [[Jody Miller]].<ref name=rnb365>Gulla, p. 365.</ref> An English-language version, "[[You Don't Have to Say You Love Me]]", would feature lyrics newly written by Springfield's friend (and future manager) [[Vicki Wickham]] and another future manager, [[Simon Napier-Bell]].<ref name=rnb365 /><ref name=youdont>{{cite magazine |archive-url=https://web.archive.org/web/20080726073631/http://www.rollingstone.com/artists/dustyspringfield/articles/story/6596336/you_dont_have_to_say_you_love_me |url=https://www.rollingstone.com/artists/dustyspringfield/articles/story/6596336/you_dont_have_to_say_you_love_me |title='You Don't Have to Say You Love Me' Dusty Springfield |magazine=[[Rolling Stone]] |date=9 December 2004 |access-date=28 June 2012 |url-status=dead |archive-date=26 July 2008}}</ref> Springfield's dramatic recording of the ballad was released in March 1966 and reached number one in the UK in its fifth week on the singles chart.<ref name=everyhit /><ref name=youdont /> Success followed in the US,<ref name=allmusic2 /> where in July it reached no. 4 on ''Billboard'''s Hot 100, ranking 21 for the year.<ref>{{cite web |url=http://www.chairborneranger.com/top100/top100-1966.htm |title=Chareborneranger Presents the ''Billboard'' Top&nbsp;100 for 1966 |publisher=Chairborne Ranger (Dennis Mansker) |access-date=2 July 2012}}</ref> Springfield called it "good old schmaltz",<ref name=youdont /> and it became her signature song. In 1967, Springfield was nominated for the [[Grammy Award for Best Contemporary (R&R) Performance|Best Contemporary (R&R) Solo Vocal Performance – Male or Female]] award at the [[9th Annual Grammy Awards]], losing to [[Paul McCartney]] for "[[Eleanor Rigby]]". In 1999, "You Don't Have to Say You Love Me" featured in an all-time Top 100 of songs as voted for by listeners of [[BBC Radio 2]].

{{blockquote|text=There, standing on the staircase at Philips studio, singing into the stairwell, Dusty gave her greatest ever performance – perfection from first breath to last, as great as anything by Aretha Franklin or Sinatra or Pavarotti. Great singers can take mundane lyrics and fill them with their own meaning. This can help a listener's own ill-defined feelings come clearly into focus. Vicki [Wickham] and I had thought our lyric was about avoiding emotional commitment. Dusty stood it on its head and made it a passionate lament of loneliness and love.|sign=[[Simon Napier-Bell]], "Flashback: Dusty Springfield", ''[[The Observer]]'' (19 October 2003).<ref name="Napier-Bell">{{cite news |url=http://observer.guardian.co.uk/omm/story/0,,1062873,00.html |title=Flashback: Dusty Springfield |last=Napier-Bell |first=Simon |author-link=Simon Napier-Bell |work=[[The Observer]] |location=London |date=19 October 2003 |access-date=4 July 2012}}</ref>}}

In 1966, Springfield scored with three other UK hits, all varying in style: the snappy "Little By Little" (no. 17), a cover of [[Gerry Goffin]] and Carole King's poignant and reflective "[[Goin' Back]]" (no. 10), and the sweeping dramatic ballad "All I See Is You" (no. 9), co-written by [[Ben Weisman]] and Clive Westlake. The last peaked at no. 20 in the United States.<ref name=everyhit /> In August and September 1966, she hosted ''Dusty'', a six-part  [[BBC TV]] music/talk show series.<ref name="Bell">{{cite web |url=http://www.simonbell.com/TVseries.html |title=Dusty Springfield: Dusty Devotedly – Details of Dusty's TV Series' in the 60's |last=Bell |first=Simon |author-link=Simon Bell (singer) |access-date=28 June 2012 |archive-url=https://web.archive.org/web/20120618101610/http://www.simonbell.com/TVseries.html |archive-date=18 June 2012 |url-status=dead}}</ref> A compilation of her singles, ''Golden Hits'', released in November 1966, peaked at no. 2 in the UK (behind the [[The Sound of Music (soundtrack)|soundtrack]] to ''[[The Sound of Music (film)|The Sound of Music]]'').<ref name=everyhit /> From the mid-1960s onward Springfield used the pseudonym '''"Gladys Thong"''' when recording backing vocals for other artists including [[Madeline Bell]], [[Kiki Dee]], [[Anne Murray]] and [[Elton John]].<ref name="Valentine66">{{cite web |url=http://www.cpinternet.com/~mbayly/article-gladys.htm |title=Dusty Changes Her Name to Gladys Thong |work=Disc & Music Echo |last=Valentine |first=Penny |date=24 September 1966 |access-date=1 July 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120523144857/http://www.cpinternet.com/~mbayly/article-gladys.htm |archive-date=23 May 2012}}</ref><ref name="Randall32">Randall, (2009), [https://books.google.com/books?id=D2mCQpLstCkC&pg=PA32 pp. 32], [https://books.google.com/books?id=D2mCQpLstCkC&pg=PA57 57], [https://books.google.com/books?id=D2mCQpLstCkC&pg=PA173 173].</ref> Bell was a regular backing singer on early Springfield albums, and the pair, together with [[Lesley Duncan]], co-wrote "I'm Gonna Leave You" ,<ref name="APRAGonna">{{cite web |publisher=Australasian Performing Right Association (APRA) |title='I'm Gonna Leave You' at APRA search engine |url=http://www.apra-amcos.com.au/worksearch.axd?q=Im%20Gonna%20Leave%20You |access-date=2 July 2012}}</ref> the B-side of "Goin' Back".

During this period, Springfield was also known for her love of [[Motown]]. She introduced the Motown sound to a wider UK audience, both with her covers of Motown songs and by facilitating the first UK TV appearance for [[the Temptations]], [[the Supremes]], [[Martha & The Vandellas]], [[the Miracles]] and [[Stevie Wonder]] in a special edition of the 1963–66 British TV music series ''Ready Steady Go!'', produced by Vicki Wickham.<ref name="Randall2005">Randall, (Fall 2005).</ref> ''The Sound of Motown'' was broadcast by [[Associated-Rediffusion]]/[[ITV (TV network)|ITV]] on 28 April 1965, with Springfield opening each half accompanied by [[Martha and the Vandellas]] and Motown's in-house band, [[the Funk Brothers]].<ref name="Randall2005" /><ref name= merseybeat>{{cite web |archive-url=https://web.archive.org/web/20081019215931/http://www.merseybeat.co.uk/articles.php?cat=TV+Shows+%26+Documentaries |url=http://www.merseybeat.co.uk/articles-details.php?cat=TV+Shows+%26+Documentaries&id=581 |title=Ready, Steady, Go! |publisher=Mersey Beat Rock and Pop Memorabilia (Bill Harry, Jimmy Devlin) |archive-date=19 October 2008 |access-date=4 July 2012}}</ref> The associated touring Tamla-Motown Revue–featuring the Supremes, the Miracles and Stevie Wonder–had started in London in March and was, according to the Supremes' [[Mary Wilson (singer)|Mary Wilson]], a flop: "It's always... disheartening when you go out there and you see the house is half-full... but once you're on stage... You perform as well for five as you do for 500."<ref name="White">{{cite news |url=https://www.independent.co.uk/arts-entertainment/music/features/dancing-in-the-streets-of-britain-6149234.html?printService=print |archive-url=https://web.archive.org/web/20140310083626/http://www.independent.co.uk/arts-entertainment/music/features/dancing-in-the-streets-of-britain-6149234.html?printService=print |url-status=dead |archive-date=10 March 2014 |title=Dancing in the Streets of Britain |last=White |first=Adam |work=The Independent |date=1 April 2005 |access-date=28 June 2012}}</ref> Wickham, a fan of the Motown artists, booked them for the ''Ready Steady Go!'' special and enlisted Springfield to host it.<ref name="White" />

=== 1967–68 ===
[[File:Dusty Springfield blue plaque.jpg|thumb|Plaque, 38–40 Aubrey Walk, London]]

As with Springfield's chart success in the previous three years, there was minimal agreement in 1967 and 1968 between UK and US releases. The closest Springfield got to a transatlantic hit during this period was the spirited "[[I'll Try Anything]]", which charted in the spring of 1967 (UK no. 13/US no. 40). The follow-up single, "Give Me Time"–the singer's last traditional-sounding sweeping ballad–peaked outside the UK Top 20 (no. 24) and stalled at 76 in the United States. However, the single's B-side – the smokey-sultry  [[Burt Bacharach|Bacharach]]-[[Hal David|David]] song "[[The Look of Love (1967 song)|The Look of Love]]", recorded for the [[James Bond]] parody film ''[[Casino Royale (1967 film)|Casino Royale]]''–emerged as one of Springfield's five defining US 1960s hits.<ref name="The Look of Love">{{cite web |url=https://www.allmusic.com/song/the-look-of-love-mt0000197012 |title='The Look of Love' – Dusty Springfield, Reg Guest |last=Greenwald |first=Matthew |publisher=Allmusic. Rovi Corporation |access-date=2 July 2012}}</ref><ref name="Songfacts">{{cite web |url=http://www.songfacts.com/detail.php?id=10717 |title='The Look of Love' by Dusty Springfield |publisher=Songfacts (Carl Wiser) |access-date=2 July 2012}}</ref>
For "one of the slowest-tempo hits" of the sixties, Bacharach created the "sultry" feel by the use of "minor-seventh and major-seventh chord changes", while Hal David's lyrics "epitomised longing and, yes, lust."<ref name="The Look of Love" /> The song was recorded in two versions at the [[Philips Records|Philips]] Studios in London. The soundtrack version was released on 29 January 1967. The single version charted briefly in July, then re-entered ''Billboard'''s Hot 100 in early September, peaking at no. 22. However, it reached the Top Ten in several markets across the US, reaching number one in San Francisco ([[KFRC (defunct)|KFRC]] and [[KOIT|KYA]]) and [[San Jose, California]] ([[KLIV]]) as well as no. 2 in Boston ([[WBZ (AM)|WBZ]]), among other cities.<ref name=discography>{{cite web |archive-url=https://web.archive.org/web/20081028140503/http://www.wonderboymi.com/Discographies/ds60s.html |url=http://www.wonderboymi.com/Discographies/ds60s.html |title=Dusty Springfield The 1960s |publisher=wonderboymi.com (Steve Albin, Donald Martin, Tom Coen, Paul Howes) |archive-date=28 October 2008 |date=24 August 2004 |url-status=usurped |access-date=28 June 2012}}</ref> "The Look of Love" received an [[Academy Awards|Academy Award]] nomination for [[Academy Award for Best Song|Best Song]].<ref name=infoplease>{{cite web |url=http://www.infoplease.com/ipa/A0149089.html |title=1967 Academy Awards |publisher=Infoplease ([[Pearson PLC]]) |access-date=3 July 2012}}</ref>

In August and September 1967, Springfield headlined the second season of her BBC TV series ''Dusty'' (also known as ''The Dusty Springfield Show''), in which she welcomed guests and performed songs, among them a rendition of "[[Get Ready (The Temptations song)|Get Ready]]" and her then-recent hit "I'll Try Anything".<ref name=everyhit /><ref name="Bell" /> The series attracted a healthy audience but was seen as not keeping up with changes in pop music.<ref name=mcmillan /> Springfield's next LP ''[[Where Am I Going?]]'' (October 1967)–her first album of new material since 1965–experimented with various styles including a "jazzy", orchestrated version of "[[Sunny (Bobby Hebb song)|Sunny]]" and an acclaimed cover of  [[Jacques Brel]]'s "[[Ne me quitte pas]]" ("[[If You Go Away]]").<ref name="Viglione">{{cite web |url={{AllMusic|class=album|id=r49957 |pure_url=yes}} |title=''Where Am I Going'' – Dusty Springfield |last=Viglione |first=Joe |publisher=Allmusic. Rovi Corporation |access-date=3 July 2012}}</ref> Though critically appreciated, the album peaked at 40 in the UK and failed to chart in the US.<ref name=mcmillan /><ref name="Viglione" /> In November 1968, a similar fate befell ''[[Dusty... Definitely]]'',<ref name=mcmillan /><ref name="Unterberger2">{{cite web |url={{AllMusic|class=album|id=r49958 |pure_url=yes}} |title=''Dusty... Definitely'' – Dusty Springfield |last=Unterberger |first=Richie |publisher=Allmusic. Rovi Corporation |access-date=3 July 2012}}</ref> which was not issued in the US, though it reached no. 30 in the UK during a six-week chart run.<ref name=everyhit /> Material ranged from the rolling "Ain't No Sun Since You've Been Gone" to the achingly emotive cover of [[Randy Newman]]'s "[[I Think It's Gonna Rain Today]]".<ref name=mcmillan /><ref name="Unterberger2" /> Also in 1968, Springfield scored with one of her biggest UK hits of the decade: the dramatic "[[I Close My Eyes and Count to Ten (song)|I Close My Eyes and Count to Ten]]",<ref name=everyhit>{{cite web |url=http://www.officialcharts.com/artist/_/dusty%20springfield/ |title=Artist: Dusty Springfield |publisher=[[Official Charts Company]] |access-date=28 June 2012}} Note: Click on tab to access Albums charting.</ref> written by [[Clive Westlake]].<ref name="APRAClose">{{cite web |publisher=Australasian Performing Right Association (APRA) |title = 'I Close My Eyes and Count to Ten' at APRA search engine |url=http://www.apra-amcos.com.au/worksearch.axd?q=I%20Close%20My%20Eyes%20and%20Count%20to%20Ten |access-date=28 June 2012}}</ref> The single peaked at no. 4 in August 1968. Its flip side, "No Stranger Am I", was co-written by American singer-songwriter [[Norma Tanega]]–known for her transatlantic 1966 Top 30 folk-pop hit "Walkin' My Cat Named Dog"<ref name="British Hit Singles & Albums">{{cite book |first=David |last=Roberts |year=2006 |title=British Hit Singles & Albums |edition=19th |publisher=Guinness World Records Limited |location=London |isbn=1-904994-10-5 |page=549}}</ref>–and Norma Kutzer.<ref name=musicianguide /><ref name="APRAStranger">{{cite web |publisher=Australasian Performing Right Association (APRA) |title='No Stranger Am I' at APRA search engine |url=http://www.apra-amcos.com.au/worksearch.axd?q=No%20Stranger%20Am%20I |access-date=29 June 2012}}</ref> By late 1966, Springfield was in a domestic relationship with Tanega.<ref name="Randall121">Randall, (2009), pp. vii, 113, [https://books.google.com/books?id=O4kFsOnFQqMC&q=%22Norma+Tanega%22 121], 125, 129, 135, 141, 185, 187.</ref> Springfield's 1968 TV series ''It Must Be Dusty'' was broadcast on ITV in May and June; episode six featured a duet performance of "[[Mockingbird (Inez & Charlie Foxx song)|Mockingbird]]" with singer-guitarist [[Jimi Hendrix]], fronting his band [[The Jimi Hendrix Experience|the Experience]].<ref name="Bell" />

=== 1968–69: ''Dusty in Memphis'' ===
{{main|Dusty in Memphis}}
By the late 1960s, Carole King–who with [[Gerry Goffin]] co-wrote "Some of Your Lovin{{'"}}, "Goin' Back" and four songs on the ''Dusty in Memphis'' album–had embarked on a solo singing career. At the same time, Springfield's relationship with the high-charting [[Burt Bacharach|Bacharach]]-[[Hal David|David]] partnership was floundering. Her status in the music industry was further complicated by a "progressive" music revolution which dictated an uncomfortable dichotomy: [[Underground music|underground]]/"fashionable" vs. pop/"unfashionable".<ref name=mcmillan /> Her performing career was limited to the UK touring circuit of [[working men's club]]s, hotels and cabarets.<ref name=mcmillan /> Hoping to reinvigorate her career and boost her credibility, she signed with [[Atlantic Records]],<ref name=mcmillan /> the label of her idol [[Aretha Franklin]]. (She signed with the label only in the United States; she remained under contract with Philips outside the USA.)<ref>https://www.45worlds.com/vinyl/album/sbl7889ca</ref>

The Memphis sessions at the [[American Sound Studio]] were produced by [[Jerry Wexler]], [[Tom Dowd]], and [[Arif Mardin]];<ref name=memphis>{{cite magazine |archive-url=https://web.archive.org/web/20090414080722/http://www.rollingstone.com/reviews/album/230620/review/5944299/dustyinmemphis?rating=11 |url=https://www.rollingstone.com/reviews/album/230620/review/5944299/dustyinmemphis?rating=11 |title=''Dusty in Memphis'': Dusty Springfield |last=Marcus |first=Greil |magazine=Rolling Stone |date=4 January 1999 |archive-date=14 April 2009 |access-date=29 June 2012}}</ref> the back-up vocal band [[Sweet Inspirations]]; and the instrumental band Memphis Boys.<ref name=treble>{{cite web |url=http://www.treblezine.com/reviews/294.html |title=Album Review: Dusty Springfield: ''Dusty in Memphis'' |last=Simpson |first=Ernest |work=Treble |date=23 September 2004 |access-date=29 June 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120214024625/http://www.treblezine.com/reviews/294.html |archive-date=14 February 2012}}</ref> They were led by guitarist [[Reggie Young]] and bass guitarist [[Tommy Cogbill]].<ref name=memphis /> The producers recognized that Springfield's natural soul voice should be placed at the forefront, rather than competing with full string arrangements. At first, she felt anxious when compared with the soul greats who had recorded in the same studios.<ref name=rnb369>Gulla, p. 369.</ref> She had never worked with just a rhythm track, and it was her first time with outside producers; many of her previous recordings had been self-produced, while not being credited.<ref name="liner">{{cite AV media notes |title=Dusty in Memphis |title-link=Dusty in Memphis |last=Feldman |first=Jim |year=1992 |others=Dusty Springfield |type=Inset |publisher=[[Rhino Entertainment]] |location=USA |id=R2 75580}}</ref> Wexler felt Springfield had a "gigantic inferiority complex", and due to her pursuit of perfection, her vocals were re-recorded later, in New York.<ref name=musicianguide /><ref name=d89>{{cite magazine |archive-url=https://web.archive.org/web/20100407211250/http://www.rollingstone.com/news/story/6598132/89_dusty_in_memphis |url=https://www.rollingstone.com/news/story/6598132/89_dusty_in_memphis |title=89) ''Dusty in Memphis'' |magazine=Rolling Stone |date=1 November 2003 |archive-date=7 April 2010 |url-status=dead |access-date=29 June 2012}}</ref> In November 1968, during the Memphis sessions, Springfield suggested to Wexler (one of the heads of Atlantic Records) that he should sign the newly formed UK band [[Led Zeppelin]]. She knew their bass guitarist, [[John Paul Jones (musician)|John Paul Jones]], from his session work on her earlier albums.<ref name="Welch2" /> Without ever having seen them and partly on her advice,<ref name="Welch2">{{cite book |last=Welch |first=Chris |year=1994 |title=Led Zeppelin |location=London |publisher=Orion Books |isbn=1-85797-930-3 |page=31}}</ref> Wexler signed Led Zeppelin to a $200,000 deal with Atlantic–the biggest such contract for a new band until then.<ref name="Welch2" /><ref name="Mojo">{{cite journal |title=No Way Out |journal=[[Mojo (magazine)|Mojo]] |year=2005 |first=Mick |last=Wall |page=83}}</ref>

The album ''[[Dusty in Memphis]]'' received excellent reviews on its initial releases both in the UK and US.<ref name="rnb370">Gulla, p. 370.</ref> [[Greil Marcus]] of ''[[Rolling Stone]]'' magazine wrote: "most of the songs... have a great deal of depth while presenting extremely direct and simple statements about love... Dusty sings around her material, creating music that's evocative rather than overwhelming... Dusty is not searching–she just shows up, and she, and we, are better for it."<ref name="marcus1" />

Commercial and chart success did not follow.<ref name="rnb370" /> The album failed to chart in the UK, and in April 1969 it stalled at no. 99 on [[Billboard (magazine)|''Billboard'']]'s [[Billboard 200|Top LP's]] chart,<ref name="everyhit" /><ref name="allmusic2" /> with sales of 100,000 copies.<ref name="demons" /><ref name="forgotten">{{cite web |url=http://www.forgottenhits.com/dusty_springfield |title=The Dusty Springfield Story |publisher=ForgottenHits.com (Kent Kotal) |access-date=4 July 2012}}</ref> However, by 2001, the album had received the [[Grammy Hall of Fame]] award and was listed among the greatest albums of all time by US music magazine ''Rolling Stone''<ref name="d89" /> and in polls conducted by [[VH1]], ''New Musical Express'' and UK TV network [[Channel 4]].<ref name="bestever">{{cite web |url=http://www.besteveralbums.com/thechart.php?a=88 |title=''Dusty in Memphis'' by Dusty Springfield |publisher=BestEverAlbums.com (Amulet Solutions – Europe) |access-date=2 July 2012}}</ref> In November 1968, the album's lead single, "Son of a Preacher Man", was issued. It was written by John Hurley and [[Ronnie Wilkins]].<ref name="APRASon">{{cite web |publisher=Australasian Performing Right Association (APRA) |title='Son of a Preacher Man' at APRA search engine |url=http://www.apra-amcos.com.au/worksearch.axd?q=Son%20of%20a%20Preacher%20Man |access-date=29 June 2012}}</ref> Credited as "Son-of-a Preacher Man" on UK, US and other releases, it became an international hit, reaching no. 9 in the [[UK Singles Chart|UK singles chart]] and no. 10 on  [[Billboard (magazine)|''Billboard'']]'s [[Billboard Hot 100|Hot 100]] in January 1969. In continental Europe, the single reached the Top Ten in the Austrian, Dutch and Swiss charts.<ref>{{cite web |url=http://hitparade.ch/showitem.asp?interpret=Dusty+Springfield&titel=Son%2DOf%2DA+Preacher+Man&cat=s |title=Dusty Springfield&nbsp;– 'Son of a Preacher Man' |publisher=Swiss Charts Portal. Hung Medien |last=Hung |first=Steffen |access-date=29 June 2012 |language=de}}</ref> In 1970, Springfield was nominated for the [[Grammy Award for Best Female Pop Vocal Performance|Best Contemporary Vocal Performance, Female]] award at the [[24th Annual Grammy Awards]], losing to "[[Is That All There Is?]]" by [[Peggy Lee]], whom Springfield often cited as an influence.<ref>{{cite web |url=http://www.india-server.com/awards/features/grammy-awards-1970-219.html |title=Grammy Awards 1970 |publisher=IndiaServer |access-date=3 July 2012}}</ref> In 1987, ''Rolling Stone'' magazine placed the single at no. 77 in its critics' list The 100&nbsp;Best Singles of the Last 25&nbsp;Years. In 2002, the record ranked 43 in the 100 Greatest Singles of All Time, as voted for by ''New Musical Express'' critics. In 2004, ''Rolling Stone'' ranked it 240 in its list of [[The 500 Greatest Songs of All Time]].<ref>{{cite magazine |url=https://www.rollingstone.com/news/story/6596085/son_of_a_preacher_man1|archive-url=https://web.archive.org/web/20081211184810/http://www.rollingstone.com/news/story/6596085/son_of_a_preacher_man1|url-status=dead|archive-date=11 December 2008|title=The RS 500 Greatest Songs of All Time |magazine=Rolling Stone |access-date=5 November 2008}}</ref>  "Son of a Preacher Man" found a new audience when it was included on the soundtrack of [[Quentin Tarantino]]'s 1994 film ''[[Pulp Fiction (film)|Pulp Fiction]]''. The [[Pulp Fiction (soundtrack)|soundtrack]] reached no. 21 on [[Billboard (magazine)|''Billboard'']]'s [[Billboard 200]] album chart and at the time went platinum (100,000 units) in Canada alone.<ref>{{cite magazine |url=https://books.google.com/books?id=sgsEAAAAMBAJ&q=Pulp+Fiction&pg=PA55 |title='94 Canadian Sales Are Best in a Decade |last=LeBlanc |first=Larry |magazine=Billboard |date=28 January 1995 |volume=107 |issue=4 |page=62 |access-date=29 June 2012}}</ref> It is thought that "Son of a Preacher Man" contributed to the sales of the soundtrack album, which sold more than 2&nbsp;million copies in the US.<ref>{{cite magazine |title=Going to the Movies |last=Lomax III |first=Johnny |magazine=Billboard |url=https://books.google.com/books?id=iw0EAAAAMBAJ&q=Pulp+Fiction&pg=PA83 |date=20 April 1996 |volume=108 |issue=16 |pages=48, 52 |access-date=29 June 2012}}</ref><ref>{{cite magazine |url=https://www.billboard.com/charts/billboard-200#/album/original-soundtrack/pulp-fiction/156396 |title=''Pulp Fiction'' – Original Soundtrack |magazine=Billboard |access-date=29 June 2012}}</ref>

During September and October 1969, Springfield hosted her third and final BBC musical variety series (her fourth variety series overall), ''Decidedly Dusty'' (co-hosted by [[Valentine Dyall]]).<ref name="Bell" /> All eight episodes were later wiped from the BBC archives, and to date the only surviving footage consists of domestic audio recordings.

Until her 1987 comeback with [[Pet Shop Boys]], 1969 marked the last year in which Springfield achieved any notable singles chart presence. In Britain, following "Son of a Preacher Man", she charted with only "[[Am I the Same Girl]]" (no. 43), while on the US Hot 100 she charted with the double A-side "Don't Forget About Me" (no. 64)/"[[Breakfast in Bed]]" (no. 91), a cover of "[[The Windmills of Your Mind]]" (no. 31), "Willie & Laura Mae Jones" (no. 78) and [[Brand New Me (Dusty Springfield song)|A Brand New Me]] (no. 24). Springfield's 1960s repertoire also is noted for interpretations of songs associated primarily with other artists. Those which have appeared on Springfield [[extended play|EPs]] and [[compilation album|compilations]] include "[[Twenty Four Hours from Tulsa]]", "[[You Don't Own Me]]", "[[La Bamba (song)|La Bamba]]", "[[If You Go Away]]" (released on the 1968 Philips EP ''If You Go Away'', which also featured tracks such as "Magic Garden" and "Sunny"), "[[Piece of My Heart]]" (released as "Take Another Little Piece of My Heart"), "[[I Think It's Going to Rain Today|I Think It's Gonna Rain Today]]", "[[Spooky (Classics IV song)|Spooky]]" and "[[Hier encore|Yesterday When I Was Young]]".

Springfield was one of the best-selling UK singers of the 1960s.<ref name=rolling /> She was voted the Top Female Singer (UK) by the readers of the ''New Musical Express'' in 1964 to 1966 and Top Female Singer in 1965 to 1967 and 1969.<ref name="www.rocklistmusic.co.uk">{{cite web |url=http://www.rocklistmusic.co.uk/poppoll.html#64 |archive-url=https://web.archive.org/web/20060629131458/http://rocklistmusic.co.uk/poppoll.html#64 |url-status=usurped |archive-date=29 June 2006 |title=''NME'' Pop Poll Results 1952–1996 |publisher=Rock List Music (Julian White) |access-date=2 September 2010}}</ref>

=== 1970s ===
[[File:Dusty Springfield niet op Grand Gala du Disque. Hier tijdens een bezoek in het S, Bestanddeelnr 921-1468.jpg|thumb|left|Springfield at the [[Stedelijk Museum]] in Amsterdam, 1968]]
By the beginning of the 1970s, Springfield was a major star, though her record sales were declining. Her partner, Norma Tanega, had returned to the US after their relationship had become stressful,<ref>Valentine and Wickham, p. 127.</ref> and Springfield was spending more time in the US herself.<ref>Gulla, [https://books.google.com/books?id=YNae0zmGow4C&pg=PA371 p. 371].</ref> In January 1970, her second and final album on Atlantic Records, ''[[A Brand New Me (Dusty Springfield album)|A Brand New Me]]'' (re-titled ''From Dusty... With Love'' in the UK), was released; it featured tracks written and produced by [[Gamble and Huff]].<ref>{{cite book |chapter-url=https://books.google.com/books?id=AZ4L0Pv7QwUC&pg=PA65 |title=She Bop II: The Definitive History of Women in Rock, Pop and Soul |chapter=Stupid Cupid: 'I Only Want to Be with You' |pages=[https://archive.org/details/shebopiidefiniti0000obri/page/62 62–65] |first=Lucy |last=O'Brien |publisher=Continuum International Publishing Group |year=2002 |isbn=978-0-8264-7208-3 |url=https://archive.org/details/shebopiidefiniti0000obri/page/62}}</ref> The album and related singles only sold moderately;<ref>Valentine and Wickham, p. 126.</ref> Springfield was unhappy with both her management and record company.<ref name=Bernard>O'Brien, pp. 142–144.</ref> She sang backing vocals with her friend Madeline Bell on two tracks on Elton John's 1971 hit album ''[[Tumbleweed Connection]]''. Springfield recorded some songs with producer [[Jeff Barry]] in early 1971, which were intended for an album to be released by Atlantic Records.<ref>Leeson, [https://archive.org/details/dustyspringfield0000lees <!-- quote=Jeff Barry. --> p. 118].</ref> However, her new manager Alan Bernard negotiated her out of the Atlantic contract; some of the tracks were used on the UK-only album ''[[See All Her Faces]]'' (November 1972) and the 1999 release ''[[Dusty in Memphis]]-Deluxe Edition''.<ref name=Bernard /> She signed a contract with [[ABC Dunhill Records]] in 1972, and ''[[Cameo (album)|Cameo]]'' was issued in February 1973 to respectable reviews, though poor sales.<ref>O'Brien, pp. 148–151.</ref>

In 1973, Springfield recorded the theme song for the TV series ''[[The Six Million Dollar Man]]'', which was used for two of its film-length episodes: "Wine, Women & War" and "The Solid Gold Kidnapping".<ref name="SixMillion">{{cite web |url=http://www.tvshowsondvd.com/news/Six-Million-Dollar-Man-The-Complete-Series/14457 |title=''The Six Million Dollar Man'' DVD News |last=Lambert |first=David |publisher=TVShowsOnDVD (Gord Lace) |access-date=3 July 2010 |url-status=dead |archive-url=https://web.archive.org/web/20100928083744/http://www.tvshowsondvd.com/news/Six-Million-Dollar-Man-The-Complete-Series/14457 |archive-date=28 September 2010}}</ref> Her second ABC Dunhill album was given the working title ''Elements'' and was then scheduled for release in late 1974 as ''[[Longing (Dusty Springfield album)|Longing]]''. However, the recording sessions were abandoned, although part of the material, including tentative and incomplete vocals, was issued on the 2001 posthumous compilation ''Beautiful Soul''. In the mid-1970s she sang background vocals on Elton John's album ''[[Caribou (album)|Caribou]]'' (June 1974), including his single "[[The Bitch Is Back]]"; and on Anne Murray's album ''[[Together (Anne Murray album)|Together]]'' (November 1975).<ref name=rolling /> By 1974, Springfield put her solo musical career on hold and lived as a recluse in the US avoiding scrutiny by UK tabloids. In the 1960s and early 1970s, gay or bisexual performers "knew that being 'out' would lead to prurient media attention, loss of record contracts... the tabloids became obsessively interested in the contents of celebrity closets".<ref name="musicianguide" /><ref>Randall, (2009), [https://books.google.com/books?id=O4kFsOnFQqMC&q=tabloids p. 107].</ref> Springfield would not record again until the Summer of 1977, when she began recording ''[[It Begins Again]]''.

In the late 1970s, Springfield released two albums on [[United Artists Records]]. The first was ''It Begins Again'', issued in 1978 and produced by [[Roy Thomas Baker]]. The album peaked in the UK top 50 and was well received by critics.<ref name=everyhit /> Her next album, ''[[Living Without Your Love]]'' (1979), did not reach the top&nbsp;50.<ref name=everyhit /><ref name=rolling /> In early 1979, Springfield played club dates in New York City.<ref name=everyhit /><ref name=rolling /> In London, she recorded two singles with [[David Mackay (producer)|David Mackay]] for her UK label, [[Mercury Records]] (formerly [[Philips Records]]). The first was the disco-influenced "Baby Blue", co-written by [[Trevor Horn]] and [[Geoff Downes]], which reached no. 61 in the UK.<ref name=everyhit /> The second, "Your Love Still Brings Me to My Knees", released in January 1980, was Springfield's final single for Mercury Records; she had been with the label for nearly 20 years. On 3 December 1979, Springfield performed a charity concert for a full house at the [[Royal Albert Hall]], in the presence of [[Princess Margaret]].<ref>{{Cite web |title=BBC Two - Dusty Springfield at the Royal Albert Hall |url=https://www.bbc.co.uk/programmes/m001k3s5 |access-date=24 November 2023 |website=BBC |language=en-GB}}</ref>

=== 1980s ===
In 1980, Springfield sang "Bits and Pieces", the theme song from the movie ''[[The Stunt Man]]''. She signed a US deal with [[20th Century Records]], which resulted in the single "[[It Goes Like It Goes]]", a cover of the Oscar-winning song from the film ''[[Norma Rae]]''. Springfield was uncharacteristically proud of her 1982 album ''[[White Heat (Dusty Springfield album)|White Heat]]'', which was influenced by [[new wave music]].<ref name=musicianguide /> She tried to revive her career in 1985 by returning to the UK and signing to [[Peter Stringfellow]]'s Hippodrome Records label. This resulted in the single "Sometimes Like Butterflies" and an appearance on [[Terry Wogan]]'s TV chat show ''[[Wogan]]''. None of Springfield's singles from 1971 to 1986 charted on the UK Top&nbsp;40 or ''Billboard'' Hot&nbsp;100.<ref name=everyhit /><ref name=allmusic2 />

In 1987, she accepted an invitation from [[Pet Shop Boys]] to duet with their lead singer, [[Neil Tennant]], on the single "[[What Have I Done to Deserve This? (song)|What Have I Done to Deserve This?]]".<ref name="Gulla375" /><ref name="AMGPet">{{cite web |url=https://www.allmusic.com/song/what-have-i-done-to-deserve-this-mt0004830409 |title='What Have I Done to Deserve This?' – Pet Shop Boys |first=Ned |last=Raggett |publisher=AllMusic |access-date=3 July 2012}}</ref> Tennant cites ''Dusty in Memphis'' as one of his favourite albums, and he leapt at the suggestion of using Springfield's vocals for "What Have I Done To Deserve This?".<ref name="Sweeting">{{cite web |url=http://www.cpinternet.com/~mbayly/article7.htm |title=Lusty Dusty |last=Sweeting |first=Adam |work=The Guardian |publisher=Woman of Repute |date=7 June 1990 |access-date=4 July 2012 |url-status=dead |archive-url=https://web.archive.org/web/20140306144706/http://www.cpinternet.com/~mbayly/article7.htm |archive-date=6 March 2014}}</ref> She also appeared on the promotional video. The single rose to no. 2 on both the US and UK charts.<ref name=everyhit /><ref>{{cite book |editor-last=Feldman |editor-first=Christopher G. |title=The Billboard Book of Number Two Singles |date=1 January 2000 |page=288 |publisher=Billboard Books |url=https://books.google.com/books?id=-LgXlQnsDK4C&q=dusty%20springfield&pg=PA213 |isbn=0-8230-7695-4 |access-date=27 August 2010}}</ref> It appeared on the Pet Shop Boys album ''[[Actually (album)|Actually]]'',<ref name="AMGPet" /> and on both artists' greatest-hits collections. Springfield sang lead vocals on the [[Richard Carpenter (musician)|Richard Carpenter]] song "[[Something in Your Eyes (Richard Carpenter song)|Something in Your Eyes]]". "Something in Your Eyes" was featured on Carpenter's first solo album, ''[[Time (Richard Carpenter album)|Time]]'' (October 1987); released as a single, it became a US no. 12 [[Adult contemporary music|adult contemporary]] hit.<ref name="AMGSomething">{{cite web |url=https://www.allmusic.com/album/time-mw0000192657/awards |title=''Time'' – Richard Carpenter |publisher=Allmusic. Rovi Corporation |access-date=3 July 2012}}</ref> Springfield recorded a duet with [[B. J. Thomas]], "As Long as We Got Each Other", which was used as the opening theme for the US sitcom ''[[Growing Pains]]'' in season&nbsp;4 (1988–89). (Thomas had collaborated with [[Jennifer Warnes]] on the original version, which was neither re-recorded with Warnes nor released as a single.) It was issued as a single and reached no. 7 on the Adult Contemporary Singles Chart. In 1988, a new compilation, ''[[Dusty – The Silver Collection|The Silver Collection]]'', was issued. Springfield returned to the studio with the Pet Shop Boys, who produced her recording of their song "[[Nothing Has Been Proved]]", commissioned for the soundtrack of the 1989 drama film ''[[Scandal (1989 film)|Scandal]]''. Released as a single in February 1989, it gave Springfield her fifteenth UK Top&nbsp;20 hit.<ref name="everyhit" /> In November its follow-up, the upbeat "[[In Private]]", also written and produced by Pet Shop Boys, peaked at no. 14.<ref name="everyhit" />

=== 1990s ===
Springfield's 1990 album, ''[[Reputation (Dusty Springfield album)|Reputation]]'', was her third UK Top&nbsp;20 studio album.<ref name=everyhit /> The writing and production credits for half the album, which included the two recent hit singles, went to Pet Shop Boys, while the album's other producers included [[Dan Hartman]]. By 1988 Springfield had left [[California]] and other than when recording tracks for ''Reputation'', she returned to the UK to live. In 1993, she recorded a duet with her former 1960s professional rival and friend, Cilla Black. In October, "Heart and Soul" was released as a single and, in September it had appeared on Black's album, ''[[Through the Years (Cilla Black album)|Through the Years]]''.<ref>{{cite web |url=http://www.cillablack.com/music-heartandsoul-single.htm |title=Cilla Black Discography: 'Heart and Soul' (Duet with Dusty Springfield)&nbsp;– Single |access-date=4 July 2012 |archive-date=18 February 2012 |archive-url=https://web.archive.org/web/20120218050440/http://www.cillablack.com/music-heartandsoul-single.htm |url-status=dead }}</ref> Springfield's next album, provisionally titled ''Dusty in Nashville'', was started in 1993 with producer, [[Tom Shapiro]], but was issued as ''[[A Very Fine Love]]'' in June 1995. Though originally intended by Shapiro as a country music album, the track selection by Springfield pushed the album into pop music with an occasional country feel.<ref>O'Brien, pp. 227–229.</ref>

The last studio track Springfield recorded was [[George Gershwin|George]] and [[Ira Gershwin]]'s song "[[Someone to Watch Over Me (song)|Someone to Watch Over Me]]" in London in 1995 for an insurance company TV ad. It was included on ''Simply Dusty'' (2000), an anthology that she had helped plan. Her final live performance was on ''The Christmas with [[Michael Ball (singer)|Michael Ball]]'' special in December 1995.<ref>{{cite web |archive-url=https://web.archive.org/web/20020628142523/http://www.michaelball.co.uk/bio/ |url=http://www.michaelball.co.uk/bio/ |title=Biography |publisher=Michael Ball Official Website |archive-date=28 June 2002 |access-date=4 July 2012}}</ref>

According to Australian film director [[Emma-Kate Croghan]], Springfield personally approved the use of her recording of "The Look of Love" in the 1999 film ''[[Strange Planet]]'' just days before her death in March 1999.<ref name="commentary">''Strange Planet'' Emma Kate-Croghan DVD commentary track, 1999.</ref>

=== Musical style ===
Influenced by US pop music,<ref name=rolling>{{cite book |url=https://archive.org/details/rollingstoneency00holl |url-access=registration |quote=dusty springfield. |chapter=Dusty Springfield |title=The Rolling Stone Encyclopedia of Rock & Roll |publisher=Touchstone |year=2001 |isbn=978-0-7432-0120-9 |first1=Holly |last1=George-Warren |first2=Patricia |last2=Romanowski |first3=Patricia |last3=Romanowski Bashe |first4=Jon |last4=Pareles}}</ref> Dusty Springfield created a distinctive [[blue-eyed soul]] sound.<ref name="Napier-Bell" /><ref name=marcus1>{{cite magazine |archive-url=https://web.archive.org/web/20090414080323/http://www.rollingstone.com/artists/dustyspringfield/albums/album/230620/review/5945017/dusty_in_memphis |url=https://www.rollingstone.com/artists/dustyspringfield/albums/album/230620/review/5945017/dusty_in_memphis |first=Greil |last=Marcus |title=Dusty Springfield: ''Dusty in Memphis'' |magazine=Rolling Stone |date=1 November 1969 |archive-date=14 April 2009 |url-status=dead |access-date=29 June 2012}}</ref> [[BBC News]] noted "[h]er soulful voice, at once strident and vulnerable, set her apart from her contemporaries... She was equally at home singing [[Broadway theatre|Broadway]] standards, blues, country or even techno-pop".<ref name="BBCObit" /> Allmusic's Jason Ankeny described her:{{blockquote|[T]he finest white soul singer of her era, a performer of remarkable emotional resonance whose body of work spans the decades and their attendant musical transformations with a consistency and purity unmatched by any of her contemporaries; though a camp icon of glamorous excess in her towering beehive hairdo and panda-eye black mascara, the sultry intimacy and heartbreaking urgency of [her] voice transcended image and fashion, embracing everything from lushly orchestrated pop to gritty R&B to disco with unparalleled sophistication and depth.<ref name=allmusic>{{cite web |url={{AllMusic|class=artist|id=p5503/biography|pure_url=yes}} |title=Dusty Springfield |last=Ankeny |first=Jason |publisher=Allmusic. Rovi Corporation |access-date=2 July 2012}}</ref>}}
Most responses to her voice emphasise her breathy sensuality.<ref name="britannica" /><ref name=topia>{{cite journal |url=https://pi.library.yorku.ca/ojs/index.php/topia/article/viewFile/113/105 |journal=Topia: Canadian Journal of Cultural Studies |last=Mitchell |first=Tony |title=Memorializing Dusty Springfield: Millennia, Mourning, Whiteness, Fandom, and the Seductive Voice |volume=6 |year=2001 |pages=83–97 |format=PDF |access-date=4 July 2012 |doi=10.3138/topia.6.83 |doi-access=|url-access=subscription }}</ref> Another powerful feature was the sense of longing, in songs such as "I Just Don't Know What to Do with Myself" and "Goin' Back".<ref name=topia /><ref name=rnb356 /> The uniqueness of Springfield's voice<ref name=rnb356 /> was described by Bacharach: "You could hear just three notes and you knew it was Dusty".<ref name="BBCFarewell" /> Wexler declared, "[h]er particular hallmark was a haunting sexual vulnerability in her voice, and she may have had the most impeccable intonation of any singer I ever heard".<ref name="Sexton">{{cite magazine |url=http://www.cpinternet.com/~mbayly/tribute6.htm |title=Springfield Remembered |last=Sexton |first=Paul |magazine=Billboard |publisher=Woman of Repute |date=19 March 1999 |access-date=5 July 2012 |url-status=dead |archive-url=https://web.archive.org/web/20150923210852/http://www.cpinternet.com/~mbayly/tribute6.htm |archive-date=23 September 2015}}</ref> Greil Marcus of ''Rolling Stone'' captured Springfield's technique as "a soft, sensual box (voice) that allowed her to combine syllables until they turned into pure cream".<ref name=marcus1 /> She had a finely tuned musical ear and extraordinary control of tone.<ref name=rnb356 /> She sang in a variety of styles, mostly pop, soul, folk, Latin, and rock'n'roll.<ref name=musicianguide /> Being able to wrap her voice around difficult material,<ref name=rnb356>Gulla, p. 356.</ref> her repertoire included songs that their writers ordinarily would have offered to black vocalists.<ref name=marcus1 /> In the 1960s, on several occasions, she performed as the only white singer on all-black bills.<ref name=musicianguide /> Her soul orientation was so convincing that early in her solo career, US listeners who had only heard her music on radio or records sometimes assumed that she was black.<ref name="Randall2005" /><ref name=topia /> Later, a considerable number of critics observed that she sounded black and American or made a point of saying she did not.<ref name="cole13">{{cite book |first=Laurence |last=Cole |page=13 |title=Dusty Springfield: in the Middle of Nowhere |chapter=Chapter Two: White Soul Queen |publisher=Middlesex University Press |year=2008 |isbn=978-1-904750-41-3}}</ref>

Springfield consistently used her voice to upend commonly held beliefs on the expression of [[social identity]] through music. She did this by referencing a number of styles and singers, including [[Martha Reeves]], Carole King, Aretha Franklin, Peggy Lee, [[Astrud Gilberto]], and [[Mina (Italian singer)|Mina]].<ref name="Randall3">Randall, (2009), [https://books.google.com/books?id=O4kFsOnFQqMC p. 3].</ref> Springfield instructed UK backup musicians to capture the spirit of US musicians and copy their instrumental playing styles.<ref name=musicianguide /><ref name="Randall2005" /> However, the fact that she could neither read nor write music made it hard to communicate with session musicians.<ref name="Leeson49">Leeson, [https://archive.org/details/dustyspringfield0000lees <!-- quote="read music". --> p. 49].</ref><ref name="Kort">{{cite journal |title=The Secret Life of Dusty Springfield | journal=[[The Advocate (magazine)|The Advocate]] |date=27 April 1999 |first=Michele |last=Kort |issue=16}}</ref> In the studio she was a perfectionist.<ref name="taylor">{{cite journal |last=Taylor |first=Charles |date=12 January 1997 |title=Mission Impossible: The Perfectionist Rock and Soul of Dusty Springfield |url=http://weeklywire.com/ww/12-01-97/boston_music_2.html |journal=[[The Phoenix (newspaper)|The Boston Phoenix]] |access-date=29 June 2012 |archive-date=4 March 2016 |archive-url=https://web.archive.org/web/20160304025519/http://weeklywire.com/ww/12-01-97/boston_music_2.html |url-status=dead }}</ref> Despite producing many tracks, she did not take credit for doing so.<ref name=liner /> During extensive vocal sessions, she repeatedly recorded short phrases and single words.<ref name="Randall2005" /> When recording songs, headphones were typically set as high in volume as possible–at a [[decibel]] level "on the threshold of pain".<ref name="mojoref"/>

The Philips Record company's studio was slated as "an extremely dead studio", where it felt as though it had turned the treble down: "There was no [[wikt:ambiance|ambience]] and it was like singing in a padded cell. I had to get out of there".<ref name="Mojo" /><ref name="mojoref">{{cite news |work=[[Mojo (magazine)|Mojo]] |date=May 1999 |issue=66 |title=Real Gone – Dusty Springfield, England's Lady Soul |first=Lucy |last=O'Brien |page=34}}</ref> Springfield wound up recording in the ladies' toilets because of superior [[acoustics]].<ref name="mojoref"/> Another example of refusal to use the studio is "I Close My Eyes and Count to Ten"–recorded at the end of a corridor.<ref name="mojoref"/>