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Complete Recordings

Joan WeberAudio CD
5.0 out of 5 stars  See all reviews (5 customer reviews)

Price: $13.76 & FREE Shipping on orders over $35. Details
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Product Details

  • Audio CD (July 13, 2004)
  • Number of Discs: 1
  • Label: Collectables
  • ASIN: B0002ABUSO
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #439,006 in Music (See Top 100 in Music)

1. Marionette
2. Let Me Go Lover
3. It May Sound Silly
4. Call Me Careless
5. Lover - Lover (Why Must We Part)
6. Tell the Lord
7. Don't Throw My Love Away
8. Anything, Everything for Love
9. Rock Talk
10. Goodbye Lollipops, Hello Lipstick (I'm Not a Baby Anymore)
11. What Should a Teen Heart Do?
12. Gone
13. A Love That's a Lie
14. Who'll Be My Judge
15. Saturday Lover - Sunday Stranger

Editorial Reviews

Joan was a mere 18 years old when her rendition of Let Me Go Lover rocketed to #1 on the charts in 1954! That song is here along with the rest of her Columbia recordings: Marionette; Goodbye Lollipops; Hello Lipstick; Saturday Love-Sunday Stranger; It May Sound Silly; Tell the Lord; Rock Talk , and seven more.

Customer Reviews

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Most Helpful Customer Reviews
13 of 13 people found the following review helpful
5.0 out of 5 stars The day we thought would never come July 14, 2004
By A Customer
Format:Audio CD|Verified Purchase
After Joan Weber shot to #1 with "Let Me Go, Lover," possibly the most-covered hit record of all time, there is no reason she could not have gone to a lasting hit-filled career. The followup, "It May Sound Silly," was terrific and the McGuire Sisters landed a hit with it. But the record slipped out with no promotion or attention. I've been told by disc jockeys who should know that the problem was Weber was pregnant at the time of "Let Me Go, Lover" and not in good condiition for touring or performing and that her marriage was going through difficulties. And that, for who knows what reasons, Mitch Miller was not ready to invest money and time in a career for her. The rest of her career at Columbia, which was a product of her intiial contract rather than any interest in giving her success, involved her recording some really low-quality songs and trying all sorts of singing styles.
There is no evidence of her ever getting any coaching for performing. She over-emotes, over-phrases and sings too close to the microphone and sobs to show emotion. All that easily could have been corrected.
There was one more great record, Ferlin Huskey's terrific song, "Gone," and it got radio play but again Columbia just neglected it until it died on the vine. Weber ended up a restaurant hostess and a tragic figure.
I've always thought it criminal that nearly 50 years after "Let Me Go, Lover" she never got an album, never got a C.D., as her work on Columbia is truly interesting and off-beat, for all the right and all the wrong , reasons. She certainly did not deserve the shabby treatment she got and certainly did not deserve musical oblivion. "Let Me Go, Lover," "Marionette" and "Gone" are reason enought to have this long, long overdue C.D.
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3 of 3 people found the following review helpful
5.0 out of 5 stars The Music Industry's Shame December 20, 2007
Format:Audio CD
Joan Weber was a viable and talented artist whose carear was thrown away by the music industry in favor of other artists that were already "on their way and proven" (The McGuire Sisters, Doris Day, Teresa Brewer. to name two). Some of these artists were rerecording Joan's efforts in the same time frame and, therefore, redirecting her impact. Much has been made of her being pregnant at the time, but this is not the real reason. Nor was her not being able to tour for several months the real reason. After all, she had a #1 hit after she had performed this hit live on TV ,Studio One, well into her pregnancy. The music industry practice was to pay their artists as little as possible and it had a strangle hold on everyone. They had their favorites and that was that. Mitch Miller, head of A&R at Columbia, did not want to invest further in her carear. Joan Weber was not the first carear Mr. Miller had ruined nor the last. He was without boundaries and did as he chose with his personal priorities tainting the choices. Perhaps she was too good and would have given Doris Day and other invested favorites a run for their money. Perhaps some of the good old boys crowd attitude was in play. Whatever, I am truly grateful to finally own the only non single release she ever had, released way beyond her death, by Collectables and Sony in 2004. It is efforts like this that is finally reviving "lost" talent. One wonders if she would have died in such sad circumstances had she been allowed to blossom. I cried for her when I read her biography.
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2 of 2 people found the following review helpful
5.0 out of 5 stars She Deserved Better August 7, 2007
Format:Audio CD
Joan Weber will forever be ensconced in that list dreaded by all Pop artists - the one with the heading "One-Hit Wonders." But it wasn't because she lacked talent. True, she was not in the same class as contemporaries like Jo Stafford, Rosemary Clooney, Georgia Gibbs, Doris Day, and Kay Starr - few were - but you will quickly determine, when listening to this long-lost library of some of her cuts, that she was certainly as good as Joni James, June Valli, Jaye P. Morgan, Teresa Brewer, and Betty Johnson. And that is high praise enough.

Born on December 12, 1935 in Paulsboro, New Jersey, she was just 18 when brought to the soon-to-be-famous Brill Building in NY City where she impressed producer and orchestra leader Charles Randolph Greane, husband of Betty Johnson. He, in turn, brought her to the attention of Mitch Miller, then A&R chief at Columbia Records who, in developing music for a CBS-TV Studio One production, had been playing around with a song first cut the year before by Georgie Shaw under the title Let Me Go, Devil.

After changing the lyrics and title to Let Me Go, Lover he had her record it with Jimmy Carroll and his orchestra in time for the November 15, 1954 show, and after it was featured no less than six times during the airing the demand went through the roof. With Marionette on the flipside, a Columbia single release shot to # 1 on the Billboard Pop Top 100 and stayed there for four weeks, spending 16 weeks in total on the charts well into 1955.

Within days of its release the other major labels were rushing out covers, led by Mercury's Patti Page [# 8], Teresa Brewer with The Lancers for Decca's Coral subsidiary [# 6], and RCA Victor's Sunny Gale [# 17]. Also for RCA Victor was Hank Snow's version which reached # 1 Country.
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