Customer Reviews

Ever Since

5 star:		(15)
4 star:		(1)
3 star:		(2)
2 star:		(2)
1 star:		(0)

 

 

From the first notes of the first track, the superb Mike Errico rumination on never forgotten love, "Ever Since," Lesley Gore serves notice that she is back and going straight for the heart. That she is an astonishing singer and songwriter is not news to anyone who's seen her live shows in the past three decades since the criminally overlooked "Love Me by Name" LP. That she has superb taste in outside material is common knowledge to anyone who has been at those dynamite performances too. But even the most loyal, diehard fans could not have expected a record this brilliant, this close to the bone, this musically invigorating, this flat out addictive. Produced by the (dare I say) genius singer-songwriter Blake Morgan for his own indie label, and backed by the same stellar band that tours with her, Lesley dishes out an unforgettable collection of musical moments dealing with loss, aging, memory and of course love, love, love, in all its forms and disguises. This is not teenage triangulation sagas. The only reference to her 60s material is on her own "Not the First," but her tongue is so far in its cheek that it changes her phrasing. As catchy as that number is, it's Errico's affirming "Someday," Morgan's repeat-button-ready "It's Gone," and the sinuous, hypnotic "Cool Web" that command attention. And Gore's "Words We Don't Say" (written with several of her longtime East Coast backup singers)is as sophisticated as anything on the most outre jazz stations, lyrically and musically. Sounding amazing, Lesley does redo "You Don't Own Me" as a post-post-modern statement packed with rueful intransigence, and she takes her Oscar nominated "Out Here On My Own" to heights the excellent Irene Cara original only hinted at. The production is subtle and riveting, showcasing this collection of alterna-pop and acoustic jazz to perfection. It's been thirty years since that the last Lesley Gore album if you don't count a barely released budget collection of covers recorded in Nashville in 1982, and I hesitate to say that it was worth the wait. It is, but it begs the question: With material and talent and a voice this good, what took ya so long?

Ever since...I was 11, I've been in love with Lesley Gore. I've been a fan from the very beginning. "It's My Party" and "Judy's Turn To Cry" were there for me during the Summer of 1963. I followed her career through every album and every hit. Her voice always magical to me, and those eyes framed by the perfectly golden flipped hair, they were the source of my teenage fantasies. However,poor Lesley has been slighted since the late 60's and it came as a surprise and huge pleasure to me to see and listen her newly acclaimed song collection-"Ever Since". It is such a mature labor of love, featuring a new Lesley, with a rich "life weary" voice, her phrasing so exacting and exquisite, and immaculate production values. Every song is worth a listen. I highly recommend this cd, it is a worthy culmination to one of the great pop icons of the 1960's. Savor it, like a fine glass of wine. Thank you Lesley, your fan forever,
Sergio

The image one gets of Lesley Gore is that of the heartbroken teenager who loved to cry at parties. Well, if that's what you expect from this CD, you're gonna be disappointed. What you do get is a brilliant, jazz-oriented album in which not one song is a clunker. Lesley is not a teenager anymore. She's now actually 60 years old, but with a young, fresh-sounding voice that still bears a very strong resemblance to her recordings of the early to mid 60's. And, thankfully, she's not overdubbing her voice as she did on the older recordings. The maturity of the songs is apropos, and the recording quality is first rate. The opening cut, also the title cut, gives a full hint as to what follows. But my favorite tracks from this disc are her remake of "You Don't Own Me", which is done in a very soulful, pining manner, and with a fitting word change in "You don't own me, and I don't own you". The other fave is the final cut, "We Went So High". This track speaks of a love affair that's coming to an end. She sings it with a tear in her voice. Lesley is back with a vengeance. I say order this album now, and I guarantee it'll become an instant favorite. Let's hope any future releases from Lesley will be as good...or better, and will be released as a hybrid multichannel SACD as well.

For Lesley Gore, outstanding girl singer of the early 1960's -- "It's My Party," and so forth -- her newish CD, "Ever Since," has been a long time in the making: nearly 40 years. It's been a long time in the waiting for her fans, too. And make no mistake about it, Gore's grown up in the interval. "Ever Since" clearly notes the passage of time, and the trials of being a grownup.

The album has a fresh, jazzy sound, as befits the work of a girl who cut her teeth in the tutelage of jazz great Quincy Jones. On this album, she's working with skilled pianist/producer Blake Morgan. Its title song, "Ever Since" is melodic, a bit melancholy, and can't help but wonder where the years went, while musing on a lifetime of parties. "Cool Web" is just that. "Better Angels," a sophisticated song used on television's "CSI: Miami" was written by Morgan, as was "It's Gone." Gore and her brother Michael wrote the beautiful, Academy Award-winning "Out Here on My Own," for the movie "Fame;" Irene Cara did a memorable job on it, but an older Lesley Gore finds levels in the song a younger woman couldn't hope to deliver. Gore also takes writing credits on the witty "Not The First," "Words We Don't Say," and "We Went So High." Finally, the album delivers a reimagined "You Don't Own Me," her protofeminist anthem of the 1960's, that's almost worth the wait.

Gore's voice reflects the passage of time in its timbre and tone. Her high register is as beautiful as ever it was; she can hit those notes and hold them. Her middle register's a bit mushy. She tends to talk her lower register, but it works. I just saw her in person; she certainly still puts on a great show. Guess we all have to grow up someday; Gore's done it with style.

Being too young to really know much about Ms. Gore's early pop career, I got turned onto her music by a friend who took me to one of her live shows. Without the need to compare the old with the new interfering with my experience of her performance, I simply took it for what it is --- brilliant, moving, full of soul! I bought the record, and now it's one of my favorites.

In the 60s, pop stars played three chords and Lesley Gore stood out with a perfect pitch voice that soared above everyone. Fans will be dissappointed if they think they are going to hear those same vocal ranges. "Ever Since" is geared towards jazz and Lesley's voice is strained. It almost seems that she compensates for this by using more spoken word. I believe that her songwriting craft is still keen as ever. Listen to the cuts - keep your mind open and buy the CD. As an artist she continues to grow.

This CD is excellent! But it is nothing like Lesley's hit records of the 60s. Her voice is considerably earthier and deeper, and the production is much more spare, although very well done. The style is the biggest difference of all, being much jazzier and cooler. "Cool Web" is especially fine. There is a new version of "You Don't Own Me", 41 years after the original(!), and it is gorgeous, being much, much slower with lovely slow arpeggios on the piano. Bravissimo, Lesley! It is good to have something new from you.

This CD has been out for two years. I just saw it for the first time two summers later. The 60s era Lesley Gore was a favorite; so it was a priority to check out her newest work. "You Don't Own Me" is the refurbished pop hit from her chartbusting heyday that transforms into an elegant slow emotional twister that Gore wraps her voice around, exploring each phrase as a declaration of emotional independence. "Not the First" is the one tune on the disc penned exclusively by Gore that has a bit of that old pop flavor, but now tempered by her voice of experience and the lyrical twist, "You're not the first to think you'll be the last." To my ear, Gore sounds like she's been inhaling stiff doses of that rarified air occupied by Nina Simone. Gore's voice now has some gravel in its quality, not unlike Simone. One of my two very favorites on the disc is the Blake Morgan-penned "It's Gone" that builds slowly with Lesley's voice climbing a steep emotional hill, "Do you think it's too high? Is it getting too high for coming down?" This track is followed by the amazing "Someday" penned by guitarist Mike Errico with a bluesy small jazz combo feel as Gore's vocals swelter in the heat, "Past the smiles that crack like frozen lakes, under children's figure skates, I'm going past all of my own mistakes." "Ever Since" is an incredible jazz pop fusion with a vocalist who oozes experience and melds it into the melody." Bravo!

Having seen Lesley in NYC in the early 90's I was aware that the once 17 year old had a more mature sound. She performed the hits as well as standards. Her show was terrific! So, I knew when I purchased this CD the sound would not be the teen idol. Nevertheless, I knew that I would be in for a treat. Lesley does not disappoint. As the reviews indicated when the album was first released, it was well worth the wait. In fairness, it took a few listenings to fully appreciate the sound. Also in fairness, how realistic is it to expect a 60 y.o. woman to sound like she did as a 17 yo. girl. Bravo Lesley! I think it's time for a follow-up.

September 5, 2008

Leslie Gore was one of the finest and most followed female rock vocalists in the "Teenager in the Limelight years". I recommend this CD as an example of a lady singer who really knew how to drive the beat forward and keep up with it at the same time. Her classic material is displayed on this CD and all of us who were around at the time knew by heart selections like You Don't Own Me, Judy's Turn to Cry and the super classic
It's My Party. You can sill hear plenty of Leslie Gore music on any modern media but a quick way is to simply purchase the CD now.

Jay Adler, Music Critic