This should have been massive for Dusty in 1970, a lovely arrangement including accordian, it only reached the mid 30's in the UK. Amazingly David Cassidy had a big hit with it only 3 years later, it was nowhere near as good as Dusty's.

A real up-beat number for a very cerebral tune! All AK's records are full of wierd moments and odd delights, this is the one from the set that aim's to please! It starts out with the groups signature harmonies in a acapella almost swingle-like mode, and then kicks in to a hybrid pop groove from heaven, with castanets clacking away ... And the lyrics are wild ! :..." What's the difference being different when it's difference now that looks alike, you say i'm changing and i'm not so sure it's wrong..." " It's just that centerline on this highway runs up my banjo neck, and I feel somehow that it's natural to be gone..."

Written by John Hartford. A name i've seen before, but i'm not familiar with his work. I'd like to know more if anyone knows his definitive recordings!

'do they know, do they care, that it's only/that I'm lonely and low as can be.../And the smile on my face...isn't really a smile at all...'
This is a brilliant, devastating recording. Julie's gentle, heartfelt vocal, the lush background... I'm speechless!

This exceptionally haunting and lyrical song by Quincy Jones has received its definitive interpretion by Astrud Gilberto with arrangement and accompaniment by the Brazilian organist Walter Wanderley. The melancholy urgency of the piece resonates well with the dark/sad tonality that pervades so much of Bossa Nova music, though its character is also reminiscent of certain otherwise very different pieces from the bebop era, which had a formative influence on Quincy Jones' music. There is definitely the remote influence of Charlie Parker and especially Dizzy Gillespie. It's truly a completely unique piece. The drifting melody which seems to skirt over the chord changes has a beautiful inevitability. Only a very gifted and skilled musician could have contrived such a beautiful work. So Quincy Jones deserves especial credit for crafting this song from the film "The Deadly Affair."

Astrud's delivery, so typically limpid and restrained, only serves to heighten the intensity of this darkly passionate song. The subtle but somehow fierce organ playing of Walter Wanderley acheives a sizzling romanticism that perfectly complements the reading of Astrud's apparently detached fatalism.

In my opinion, this track is a true musical masterpiece. Its remarkable economy of means is a testament to the skill of the composer as well as the artistry of the performers. In fact, it's a nearly perfect combination of expressive means and poetic intent. The beautiful resolution, with Astrud's perfect striking of the high B-flat over the half-diminished F-minor seventh, is a moment of sublime dramatic intensity, though profoundly understated, as is typical of her finest artistic moments. One is reminded of Miles Davis. Her poetic skill is rooted in subtlety.

I have listened to this extraordinary track hundreds of times, and always experienced chills rising up on the back of my neck. How amazing that this incredible musical gem was omitted from the original album A Certain Smile, A Certain Sadness. Perhaps it was too intense, too heavy; whatever the case, it's a truly remarkable piece of music.

I'm truly grateful to have discovered this great albeit minor musical masterpiece. There's really nothing else quite like it! The sizzling but subtle sensitivity of the rhythm section (Claudio Slon on drums, possibly Joao Gilberto on guitar and Jose Marino on bass) adds an intensity to the piece which helps project the almost existential tone of the song.

I'm really swept away by this obscure and neglected work, which attains -- for me at least -- to a peak of poetic intensity really rare in music. As is usual with Astrud at her best, it accomplishes its artistic ends with what seems like the most minimal of means. But subtlety is always the avenue to the most profound of artistic experiences. I think this is a remarkable example -- one of the greatest -- of the wedding of popular music and high art. It is a truly perfect performance. In my opinion, its greatness increases rather than diminshes with repeated listenings. There is only one word for that -- it's magic!