This is an offbeat 47-song collection of Dusty Springfield's music, subtitled "Her Greatest Love Songs, which could seem a little redundant given the tenor of her overall output, but the set turns out to be full of surprises. Along with a few chart entries, most of the well over two and a half hours of material here is focused on her album tracks and the lesser-known singles (even "I Only Want to Be With You" is represented by a more guitar-heavy, leaner alternate mix that puts her voice up further forward). The result is a "different" Dusty Springfield represented here, mostly a long way away from the British Invasion soul belter who scaled the charts with a bigger-than-life sound -- this collection is mostly devoted to the much more subtle interpretations that were usually overlooked in favor of those bolder sides. The set succeeds admirably, ranging freely across her recorded legacy from the mid-'60s to the very end of the 20th century to find that other side of her sound -- even people who own one of the two career-spanning anthologies of her work (either the triple-CD or the quadruple-CD box) may find this double-disc collection downright revelatory. Disc one jumps between "The Look of Love" from 1966, "Brand New Me" from the early '70s, "Love Me By Name" from the late '70s, and "Goin' Back" from 1966, leaping across the map between songs separated by decades, and that's just in the first ten minutes. Her renditions of Randy Newman's "I Think It's Gonna Rain Today," Ben Raleigh and Bob Halley's "That's How Heartaches Are Made," Jimmy Van Heusen's "Second Time Around," and Gamble & Huff's "Never Love Again" show off a singer of exquisite nuance and taste, and profound sensitivity to a lyric, whether it's a piece of '60s rock, '50s pop, or '70s soul -- everything sort of becomes hers. Some of what's here, such as Richard Carpenter's "Something in Your Eyes," tends toward pop music, but it is the classiest of pop music, and the most sophisticated pop-soul when it comes to that. Disc two throws the balance of the material a little forward, into the 1980s and her work with the Pet Shop Boys, which slots in perfectly with her earlier sides in this context. There are three remixed tracks that don't sound glaringly out of context with the vintage '60s and '70s mixes adjacent to them. The fresh remasterings are clean and sharp, though it's impossible to say that it's so much superior to CDs mastered four or six years earlier that it's worth the upgrade on that basis. This double-disc set (which, as a British import, is a bit pricey) is worthwhile because of the fresh airing and context it gives to a lot of deserving recordings that are often overlooked. The overall effect is exquisitely seductive and beguiling, and is a glowing testimony to Springfield's work, which -- even in these selections often drawn from some relatively obscure corners of her career -- was a match for anyone else's best. ~ Bruce Eder, All Music Guide