第四回レコード大賞受賞曲
いつでも夢を
作詞:佐伯孝夫／作曲:吉田正
あすの花嫁
作詞:川内康範／作曲:吉田正

昭和41年のリサイタル実況録音盤。A面は唄と朗読の組曲「詩人」。B面はヒット曲とピアノ独奏(1966年3月26日~27日新宿・厚生年金会館大ホールより)

橋幸夫の78枚目のシングルで、吉永小百合とのデュエット曲。橋と吉永小百合とのデュエット曲は、レコード大賞を受賞した『いつでも夢を』から数えて、本作は6曲目にあたり、最後のデュエット曲となっている。

此非日本本土产的合辑，系美国60年代Girl Pop女性专家cha-cha-charming选拼。基本从1995年「Cutie Pop Collection」系列、2000年テイチク两张「60's Beat Girls Collection: Japanese Pop Cuties In Swingin' 60's」以及2005年间「Tokyo Bossa Nova Lounge」的曲目范围挑选。
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ALLMUSIC的西洋乐观评论：
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Another volume in the killer GS I Love You series on Ace’s Big Beat imprint reveals the sultry, swaggering, and tough, hip-shaking young pop and bossa sounds of Japan’s girl pop scene from 1966 through 1970, which is considered one of the more revolutionary eras in Japanese rock modernism. The sounds were adapted straight from America, whether they were the Farfisa-driven pulses of “風とオトコのコ” by 弘田三枝子 that contained more than a hint of the melody and arrangement of John Phillips' “California Dreamin',” or the dreamy Brazilian pop sounds of 森山良子's “雨あがりのサンバ” that was adapted straight from the Los Angeles-produced Sergio Mendes and Brazil ’66 sound. There’s some sassier stuff here, as well, such as the brassy “好きよ愛して” by the infamous 渥美マリ, with its popping snares, big horns, and strings that come off sounding like Hugo Montenegro writing for Twiggy. “ピーコック・ベイビー” by 大原麗子, is equal parts acoustic Ramsey Lewis Trio and Brazil ’66. The beautiful rave-up in “初恋のレター” by 小畑ミキ is a more drunken Petula Clark if she were backed by the Dave Clark Five. In sum, this is a 25-cut delight, and shows no let up in the sheer campy quality in the GS I Love You compilations.