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Cover information about the songs on the release Willie & Laura Mae Jones by Dusty Springfield: who covered the songs, who sang the originals.

Album Dusty In Memphis. Willie & Laura Mae Jones Lyrics. Willie & Laura Mae Jones Were our neighbours a long time back They lived right down the road from us In a shack just like our shack. The people worked the land together And we learned to count on each other When you live off the land You don't have the time to think about another man's colour. The cotton was high and the corn was growing fine But that was another place and another time.

1969 studio album by Dusty Springfield. To make the album, Springfield worked with a team of musicians and producers that included Jerry Wexler, Arif Mardin, Tom Dowd, conductor Gene Orloff, backing vocalists The Sweet Inspirations, bassist Tommy Cogbill, and guitarist Reggie Young. Dusty in Memphis sold poorly on its first release, despite featuring one of Springfield's top-10 UK hits, "Son of a Preacher Man". Willie & Laura Mae Jones" (Tony Joe White) – 2:45. From cancelled second album with Jerry Wexler. First release: US Atlantic single (A-side), 5 June 1969.

Matrix, Runout (A-Side etched runout): A-17095-SP F. Matrix, Runout (B-Side etched runout): A-17096-SP F.

Willie & Laura Mae Jones. Willie & Laura Mae Jones, That Old Sweet Roll (Hi-De-Ho). Willie and Laura Mae Jones.

Some, such as "Willie and Laura Mae Jones", recorded with Jerry Wexler, Tom Dowd and Arif Mardin, had been previously released as singles in the US. See All Her Faces collects many of those tracks, recorded from 1969 to 1971, placing seven of the British recordings on Side A, while Side B comprises tracks recorded both in the UK and the US. As a result, the album has no cohesive sound, but offers many different styles of music. The album boasts eight producers, including Springfield herself.

The idea of taking England's reigning female soul queen to the home of the music she had mastered was an inspired one. The Jerry Wexler/Tom Dowd/Arif Mardin production and engineering team picked mostly perfect songs, and those that weren't so great were salvaged by Springfield's marvelous delivery and technique

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