There's a lot more Broadway and a lot more ballads than blues on this, which ranks as one of her weaker mid-'60s albums. Almost half the record features Broadway tunes on the order of Cole Porter and Rodgers & Hammerstein; most of the rest was composed by Bennie Benjamin, author of her first-rate "Don't Let Me Be Misunderstood," which the Animals covered for a hit shortly afterwards (and which leads off this record). The other Benjamin tunes are modified uptown soul with string arrangements and backup vocals in the vein of "Don't Let Me Be Misunderstood," but aren't in the same league, although "How Can I?" is an engaging cha cha. Besides "Don't Let Me Be Misunderstood," the album is most notable for the great "SeeLine Woman," a percolating call-and-response number that ranks as one of her best tracks. The CD reissue includes the strange bonus cut "The Monster," an odd attempt at a soul novelty tune.
by Richie Unterberger

There's a lot more Broadway and a lot more ballads than blues on this, which ranks as one of her weaker mid-'60s albums. Almost half the record features Broadway tunes on the order of Cole Porter and Rodgers & Hammerstein; most of the rest was composed by Bennie Benjamin, author of her first-rate "Don't Let Me Be Misunderstood," which the Animals covered for a hit shortly afterwards (and which leads off this record). The other Benjamin tunes are modified uptown soul with string arrangements and backup vocals in the vein of "Don't Let Me Be Misunderstood," but aren't in the same league, although "How Can I?" is an engaging cha cha. Besides "Don't Let Me Be Misunderstood," the album is most notable for the great "SeeLine Woman," a percolating call-and-response number that ranks as one of her best tracks. The CD reissue includes the strange bonus cut "The Monster," an odd attempt at a soul novelty tune.
by Richie Unterberger