Maureen Evans

The 1960s has left us with a musical legacy that will be hard to beat. Amongst those best remembered are a selection of female soloists who broke the mould time and time again, and whose fame has lasted through to today. From Dusty to Cilla to Sandie to Lulu and Shirley, all are known by just one name and are seen as irreplaceable and unforgettable. However, as with any period, there are those that are overlooked and undeservedly forgotten. With Shirley the most memorable of vocalists hailing from South Wales, her country mate Maureen Evans should hopefully enjoy a revival as the result of this Cherry Red retrospective, titled after her biggest hit, 1962's Like I Do.

Debuting in 1958 with Stupid Cupid / Carolina Moon, she enjoyed her first chart success with the #26 charting The Big Hurt / I Can't Begin To Tell You, which is where this collection of her sixties success starts. With Maureen retiring from her stage career in 1968, with I Almost Called Your Name / Searching For Home, this collection dutifully documents the 31 singles that maintained her success during the period.

Choosing a family life instead of fame and fortune cut Evans' recording career short. While she maintained a low profile in South Wales, where she ran the Maureen Evans Theatre School, it was by her own design that she became one of the 60's forgotten gems. However, Like I Do: The Sixties Recordings is a timely reminder of a talent that shone as brightly as her contemporaries. With a vocal that has an air of Petula Clark with the dirty edge of Eartha Kitt and the playful poise of Rosemary Clooney, she is an artist whose vocal and sound easily traverse the trials and tribulations of time.

Opening with the classic Like I Do, it is immediately apparent that Maureen is an artist that deserves mononymous acclaim. Notable highlights include a cover of Anita Bryant's Paper Roses, which of course now most celebrated as a Marie Osmond classic. Bringing a sophisticated feel to the magical classic, this rendition may not have fared as well in the UK charts as either Bryant's or Osmond's renditions but it is equally moving. Also impressive are a hip swaying rendition of Never Let Him Go, which had been cut by Jody Miller in early 1965 and covered by Glenn Yarborough ahead of the Maureen Evans interpretation during the same year. While both the former are striking, it is only Evans' take on the track that really rivals the hit version that was released by Brenda Lee a decade later. The playful Pick The Petals, which lost out to Ronnie Carroll's Say Wonderful Things for the chance to represent the UK at Eurovision in 1963, should have been a runaway hit in its own right. The poignant closer, We Just Couldn't Say Goodbye, is aptly positioned. A dramatic mid-tempo, it begs for Maureen Evans to return to the stage once more, even if only for an affirmative farewell tour.

With the collection bouncing between years, it is hard to follow Evans' growth as an artist throughout the decade, while the 20-plus singles released in the 2 years ahead of this collection also beg to be revisited - and the notable omission of her stunning 1961 rendition of As Long As He Needs Me / Where I Love needs rectifying. While by the late 60s her sound may have seemed dated to a generation enjoying the Merseybeat explosion, today the recordings would merely be heralded as timeless. This is an album that deserves your attention.