Opening the iTunes Store.If iTunes doesn't open, click the iTunes application icon in your Dock or on your Windows desktop.Progress Indicator
Opening the iBooks Store.If iBooks doesn't open, click the iBooks app in your Dock.Progress Indicator

iTunes is the world's easiest way to organize and add to your digital media collection.

We are unable to find iTunes on your computer. To preview and buy music from In the Mood for Love: Classic Ballads by Brenda Lee, download iTunes now.

Already have iTunes? Click I Have iTunes to open it now.

I Have iTunes Free Download
iTunes for Mac + PC

In the Mood for Love: Classic Ballads

Open iTunes to preview, buy, and download music.

Album Review

She can sing rockers and turn around and sing Hank Williams songs as well as anyone. But nobody can put across a ballad the way Brenda Lee can, and this 18-track collection proves it in a most musical way. Drawn from 11 different albums and recorded between 1961 and 1971, In the Mood for Love: Classic Ballads foregoes the usual hits and formulaic choices and instead concentrates on Lee's interpretations of standards and cover versions of then-current hits by the likes of Dusty Springfield and others. Perhaps it's Owen Bradley's uniformly excellent production that helps to band it all together around Lee's pipes, but everything on here works together as a whole concept, solid as a brick. Great songs, great singing, and production that still sounds crisp some 35-40 years after it was cut. A noteworthy addition to anyone's Brenda Lee collection, covering material not found on her box set anthologies.

Customer Reviews

Brenda Lee "In The Mood For Love"

Brenda Lee still has one of the most powerful voices in music! "THE END OF THE WORLD" will blow your mind, and give you "goose-bumps".

this is how pop music died

This is how the post-war genre of Nat King Cole, Etta James, Patsy Cline, and Frank Sinatra died...a genre that has its roots in tin-pan alley. It's 1960s stars like Brenda Lee that fundamentally transformed pop from a commercially driven but diverse radio enterprise designed to please whole communities, into a more strictly and purely commercial venture, with formulaic songs designed to appeal narrowly to an album-buying audience. 90% of her songs were ballads in 6/8 time, and probably 99% were in the tin-pan alley AABA format that was vanishing with a steadily increasing prominence of blues and rock in American culture. But the great crooners and hollywood torch singers that she hearkens back to were never so boring as this. She was selling to one of the first major "nostalgia" audiences in popular music. Her singing takes no risks, and holds no interest beyond the hammering-home of the simplest emotional reflexes. There is some creativity in the arrangements, but there is more dogma: almost every track seems to have required three violinists to come in to the studio and play high countermelodies in unison, into a reverb unit, so that teens and their parents alike could hold onto the romance of the now-impractical "studio orchestra" without actually getting any of the depth or detail that an orchestra provides. /The Crying Game/ is predictably eerie but never evocative. /Always On the Mind/ is a painfully unimaginative dangling of "Country" at arms' length, instead of a celebration of a timeless song that transcends genre.

This Woman Is A Songbird



Born: December 11, 1944 in Lithonia, GA

Genre: Pop

Years Active: '50s, '60s, '70s, '80s, '90s, '00s, '10s

One of the biggest pop stars of the early '60s, Brenda Lee hasn't attracted as much critical respect as she deserves. She is sometimes inaccurately characterized as one of the few female teen idols. More crucially, the credit for achieving success with pop-country crossovers usually goes to Patsy Cline, although Lee's efforts in this era were arguably of equal importance. While she made few recordings of note after the mid-'60s, the best of her first decade is fine indeed, encompassing not just the...
Full Bio