Miss Bette Davis
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||Overture / They're Either Too Young or Too Old||Bette Davis||5:55||¥150||View in iTunes|
||Life Is a Lonely Thing||Bette Davis||3:45||¥150||View in iTunes|
||Until It's Time for You to Go||Bette Davis||4:46||¥150||View in iTunes|
||Growing Older, Feeling Younger||Bette Davis||5:12||¥150||View in iTunes|
||It Can't Be Wrong||Bette Davis||3:59||¥150||View in iTunes|
||I've Written a Letter to Daddy||Bette Davis||3:30||¥150||View in iTunes|
||Loneliness||Bette Davis||3:20||¥150||View in iTunes|
||Mother of the Bride||Bette Davis||3:56||¥150||View in iTunes|
||Hush...Hush, Sweet Charlotte||Bette Davis||3:23||¥150||View in iTunes|
||As Margo Channing (Dialogue from the Car Scene In "All About Eve")||Bette Davis||3:36||¥150||View in iTunes|
||I Wish You Love||Bette Davis||4:54||¥150||View in iTunes|
Bette Davis is not usually thought of as a singer, but her long career included several exceptions to that impression. In particular, in 1943 she gave a credible rendition of the comic war-related song "They're Either Too Young or Too Old" in the all-star World War II extravaganza movie Thank Your Lucky Stars, and in 1952 she starred in the Broadway musical Two's Company. In the mid-'70s, Davis, who was approaching her late sixties, accepted an invitation to cut an album for EMI Records at Abbey Road Studios in London. Producer Norman Newell and arranger/conductor Roger Webb obviously were students of her work and had an appreciation for the strengths and limitations of her voice. Not surprisingly, the album is in essence a musical précis of Davis' career. It includes a new recording of "They're Either Too Young or Too Old"; re-recordings of the two sides of her 1965 Bell Records single "Life Is a Lonely Thing"/"Mother of the Bride"; performances of songs from her films ("It Can't Be Wrong" from Now, Voyager, "I've Written a Letter to Daddy" from Whatever Happened to Baby Jane?, and the title song from Hush… Hush, Sweet Charlotte); and a re-created dialogue excerpt from the movie classic All About Eve. The other songs have a mature, philosophical tone appropriate to the singer's age, particularly "Growing Older, Feeling Younger," contributed by Newell and Webb. Davis was not a great singer, by any means, but she could carry a tune as well as, say, Marlene Dietrich, if not better, and like Dietrich she had a distinctive, identifiable voice that allowed her to inject a heavy dose of acting into her singing. The result was a perfectly respectable recording to be treasured by her fans.