From master-piece to master-piece, we cover fourteen years of the career of one of the rare artists who can always move us, regardless of our age, culture and sensitivity. From one track to the next, from one period to another, we can find an overripe woman in 1952 when just thirty-seven, a young woman with a voice of a young girl in 1938 when just twenty-three, five years after her true debut and first discs, forever singing of daydreams (If Dreams Come True), before believing in nothing, though love still makes one giddy (You Go To My Head, 1952). And in the midst of such beauty, in the depths of despair, is a peak moment, Gloomy Sunday, cut in 1941, the English version of a Hungarian song (Szomorú Vasárnap) which must have led to the suicide of many a lovesick Magyar. Indeed, even its composer, Rezsö Seress put an end to his days in 1968. But, on the contrary, this monument of vocal art should be cherished, in the same way as we should delight in hearing Tenderly, No More - in which Billie's mastery can be admired in the intricate intervals - , He's Funny That Way or in Somebody's On My Mind and Now Or Never, two songs where she signed the lyrics which express desire, disillusion and humour, no doubt to teach us that nothing is easy in this mean old world.