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The Shadow of Your Smile


Download links and information about The Shadow of Your Smile by Andy Williams. This album was released in 1966 and it belongs to Rock, Pop genres. It contains 12 tracks with total duration of 33:59 minutes.

Artist: Andy Williams
Release date: 1966
Genre: Rock, Pop
Tracks: 12
Duration: 33:59
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No. Title Length
1. The Shadow of Your Smile (Love Theme from "The Sandpiper") 3:02
2. That Old Feeling 2:49
3. Meditation 3:03
4. Try to Remember 2:53
5. Michelle 3:22
6. Somewhere 2:58
7. The Summer of Our Love 2:36
8. Peg O' My Heart 2:22
9. How Insensitive 2:38
10. Yesterday 2:48
11. Bye Bye Blues 2:41
12. A Taste of Honey 2:47



With a couple of re-titled reissues (Hawaiian Wedding Song, Canadian Sunset) in 1965 and a compilation (Andy Williams' Newest Hits) in early 1966 to keep customers happy, Andy Williams was able to take more than a year to craft a follow-up to Dear Heart. When The Shadow of Your Smile appeared in the spring of 1966, it was, on the surface, a typical Andy Williams album. It was titled after the year's Academy Award-winning Best Song (from The Sandpiper) and otherwise combining songs that, if not brand-new, had recently been hits for other artists, such as "Try to Remember" (Ed Ames), "Somewhere" (P.J. Proby), and "A Taste of Honey" (Herb Alpert and the Tijuana Brass), with old favorites like "That Old Feeling," "Peg O' My Heart," and "Bye Bye Blues." But there were notable changes in Williams' approach. Two years after the British Invasion and the bossa nova craze, he acknowledged both movements with two covers each. From the Beatles came "Michelle" and "Yesterday"; from Antonio Carlos Jobim came "Meditation" and "How Insensitive." Of course, such material was not entirely foreign to Williams, who had put a bossa nova version of "Begin the Beguine" on The Great Songs from "My Fair Lady" and Other Broadway Hits in 1964 and recorded Under Paris Skies, an album that easily could have included "Michelle," had it been written yet, in 1960. But The Shadow of Your Smile also had a slower, more languorous feel than earlier Williams albums, and it had more vocal risk-taking, particularly on the Jobim numbers and in the long-held note at the end of "Somewhere." The alterations indicated that Williams was not content to simply turn out the same sort of album over and over, and that he was paying attention to the changes in popular music around him.