In an era when albums were usually a filler-packed afterthought, Springfield's were anything but: she clearly saw them as a chance to indulge in the music she loved, rather than simply making hits.
A gay icon with a soulful voice, Springfield should have been a perfect fit for disco: with material as strong as That's the Kind of Love I've Got for You, her failure to click seems even weirder.
A delicate, lovely slice of beautifully-sung folk, written by Springfield's then-lover Norma Tanega, listening to it feels like eavesdropping on a private, reflective moment of calm.
I Can't Wait Until I See My Baby's Face is evidence of the sheer class and sophistication Springfield brought to mid-60s pop: a great song, a fantastic arrangement by Serge Gainsbourg cohort Arthur Greenslade and a fabulous vocal.
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