Timi Yuro – Hurt The Best Of Timi Yuro
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When I heard for the first time this VOICE I was shocked, I also thought she was black. She is the best female early 60’s vocalist by far.
Two of her songs still remains fabulous to me “Hurt” & “What’s a matter baby“. Her voice is one of the most powerful and soulful voices ever.
This is a must for any fan of 60’s soul and ballad singing.
2. I Apologize
3. For You
5. She Really Loves Me
6. You Belong To My Heart
7. Let Me Call You Sweetheart
8. Count Everything
9. I Know (I Love You)
10. All My Love Belongs To You
11. What’s A Matter Baby (Is It Hurting You)
12. Thirteenth Hour
13. Only Love Me
14. That’s Right, Walk On By
15. The Love Of A Boy
16. I Ain’t Gonna Cry No More
17. Insult To Injury
18. If I Never Get To Love You
19. Make The World Go Away
20. Look Dow
21. She’s Got You
22. Are You Sure
23. Call Me
24. I’m Movin’ On (Parts I & II)
25. Something Bad On My Mind
26. It’ll Never Be All Over for Me
I choose one review that fully express my feelings and opinion for this great beloved lady.
It’s a shame that maybe a dozen or so individuals will stumble upon these reviews of Miss Timi Yuro and attempt to understand what a talent she was. I’d love to climb the musical mountain and shout her praises to the masses. In my opinion, she represents one of the all time great female singers to emerge in the sixties decade. That’s a remarkable feat in itself. Timi’s talent as a vocalist and song stylist are truly unique. Not only did she have a rich soulful voice but also the ability to interpret the song within her own style. This talent is extremely rare. A couple of examples of other vocalists who could put there imprint on a song, Sinatra, Nina Simone, come to mind.
Timi’s success didn’t happen overnight but that story will have to be reserved for another time. Suffice to say, that Timi, with her magnificant talent, had the good fortune to be produced by the legend Clyde Otis and have her arrangements built by the one and only Belford Hendricks. These three together in the studio made musical magic that would last a lifetime. Next were the song selections, many penned by Clyde Otis. However, it’s interesting to note that selections also included numbers penned by young Willie Nelson and Burt Bacharach. I like to think that Timi recognized their talent early on. It’s also interesting to ponder what would have happened if Burt worked with Timi instead of Dionne Warwick during his musical heyday.
Also her interpretation of the old chestnuts, Smile and Let Me Call You Sweatheart. These were songs being sung by barbershop quartets but Timi made them her own and added a soulful touch. What happened?? How could a star shine so brightly and with so much promise practically disappear, after only a few years, behind the clouds? Timi with her dedication, energy,hard work and talent should have been a major headliner for years but sadly this wasn’t the case. One of the reasons were the times. Female pop singers were literally “chewed up and spit out” by the business. Talented singers were grouped together with the “one hit wonders ” and soon forgotten by the general public. No one seriously thought female pop singer, for the most part, were capable of an extended career. During the late fifties and early sixties public visibility was challanging. There were very limited public venues. Some isolated TV spot work,if you were extremely lucky, possibly Dick Clark, Ed Sullivan, etc. Musical venues were just as restrictive. Many really talented artists were tossed into rock and roll package tours with at best ten minutes on the stage shared with a dozen or more acts.It was more akin to a circus performance then a musical concert. the other alternative was night club work. Unfortunately, the club attendees were mostly in their 40s,50s and up, who’d grown up listening to big band and standards singers. A talent like Timi’s was rarely appreciated on a consistent basis. Although I don’t know, I suspect she was probably represented by less then enlightened management. I find it hard to believe that any talented management, given Timi’s work ethic and talent, could not have sustained a headlining career.
Sadly, by the late sixties Timi mostly worked the golden oldies package tour. She never really received another major break,although there were periodic rays of sunshine mostly in Europe. To soon major health problems surfaced which, although she fought bravely, finally took the ultimate toll. All that’s left is her music and the thought of what might have been for someone as talanted as she. My ongoing hope is that one of her classics will find it’s way onto a successful movie soundtrack and her stylings will receive the wide audience this body of work deserves.Until then, consider yourself fortunate that you somehow came accross Timi’s work. Now enjoy the songs for a lifetime. Richard C. Ferris (Rochester, NY)