Bassey's fourth EMI/Columbia album is regarded as the magnum opus of her pre-Goldfinger career, bringing her together with conductor/arranger
Nelson Riddle. (Ironically, it was
Riddle's still being under contract to Capitol Records which prevented him from working with
Sinatra on Reprise at the time, that made this record possible).
Riddle approached this album from the standpoint that less is more, providing elegant and subdued accompaniment that emphasized the strings.
Bassey's voice comes across with a delicacy of nuance that is startling to hear, achieving new levels of subtlety on this album. One may disagree with the order of the songs -- the moodily expressive "I Should Care," reminiscent of
Judy Garland at her best, would be the ideal opener -- but not with the overall content of this album. Throughout
Let's Face the Music, one almost gets a sense of
Bassey slipping inside these songs, becoming part of them and they her, rather than merely performing them. The interpretations are fresh in other respects as well, with works such as "Let's Fall in Love" or "The Second Time Around" given unexpectedly slow tempos that work beautifully.
Riddle is so careful and measured in his every orchestral nuance of this record, that he leaves us open to surprises at many points, perhaps most startlingly the sudden appearance of a harp glissando on "Spring Is Here," after we've been lulled into the expectation that no part of this orchestra will play full-out. Re-released in the late 1990s as part of EMI's anniversary reissue series, remastered in 24-bit sound.