Customer Reviews

It's My Party

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For those unfamiliar with Bear Family Records' way of doing things, one should understand that they go about their work like possessed archivists, turning out products that are worth twice the often high price tag attached to them. To be canonized by Bear Family is more prestigious than being inducted into the Rock and Roll Hall of Fame. That being said, obviously don't buy this if you aren't already an admirer of Gore's talents. But for those who are left hungry for more after obtaining the Mercury double-disk greatest hits package, this box set is for you. The pop aesthetic created by singer Gore, producer Quincy Jones, and arranger Claus Ogermann, is rivaled only by Spector's "wall of sound" and Motown's Funk Brothers. The sounds they achieved in the studio amaze me, and their selection of songs is even better. The Greenwich/Barry compositions, such as "Maybe I Know", "Look of Love" (not to be confused with Dusty's), and "What's a Girl Supposed to Do" surpass anything that this great duo did with Phil Spector, for the Crystals and the Ronettes. There are a good number of Goffin/King songs as well, along with many other songwriters who were part of the Brill Building/Screen Gems crew. Also of note are the sessions that took place after Quincy's departure, when Gore was coming more into her own as a singer and songwriter. These sessions with the Nashville musicians (way before Dusty did it), which were virtually ignored on Mercury's Best-of, are essential listening for Gore fans. "Any Other Girl", a song Lesley penned with her brother Michael, and "Only Last Night" particularly stand out as a brilliant pieces of pop songwriting, on par with anything produced earlier by the Jones/Ogermann team. And, of course, there's a book with lots of pictures, some of which Gore has interesting stories for. Trust me, I was skeptical about forking out the cash for what I feared might be endless second-rate outtakes, but that's not the case here. And besides, where else are you going to hear her singing "You Don't Own Me", "Run Bobby Run", "It's My Party", "Judy's Turn to Cry" and "If That's the Way You Want It" in German, French, and Italian?

Lesley Gore basically recorded as a one-girl girl group, double and triple-tracking her voice on songs of teen angst. She was among the earliest female artists to record songs reflecting female strength, independence and determination, most notably "You Don't Own Me" but also on numerous album tracks such as "Don't Call Me, I'll Call You." As her career proceeded, hit after hit, she began to move into more adult material and recordings. But what went unnoticed during her time at the top was her great qualities as a singer--the fruity flavor of her voice, her unusual after-vibrato at the end of holding long notes, her tough qualities and her ability to sing virtually anything and everything and move it to a higher level. This collection maps out a remarkable journey during her Mercury collaboration with Quincy Jones and then other producers and a variety of prominent arrangers. To think so many of us never knew what was going on with her, never thought to buy her albums, never considered her more than a pop confection when all along she was recording intriguing, offbeat songs to complicated, challenging orchestrations, turning out collections right up to the standards of anything Motown was turning out and getting great sales and artistic rewards for but for which Lesley mostly went uncredited. Mostly notably, the notably white and Jewish Lesley when you think about it ounds like a tough black chick! There really was very little fragile, sentimental or self-indulgent about her singing--she was right out there. On the top of that, as if that wasn't enough, hiding just beneath the surface was a jazz singer who very clearly grew up on June Christy, Chris Connor and Anita O'Day. This is a terrific collection of unending fascination, perfectly mastered and beautifully annotated and welll worth the price.

Who'd suspect Lesley Gore, beyond all those hit singles, had recorded for Mercury intriguing unknown song after intriguing unknown song, all produced intriguingly with intriguing orchestrations, intriguing production and in some cases intriguing alternate versions? I plunked down the money for the 5-C Bear set (and then didn't eat for a while so I could afford it) when I friend tipped me off about it. This has got to be the biggest hidden treasure in the history of American pop. There's even an entire unreleased album tucked in her and even sessions for a jazz album of standard tunes. Gore does EVERYTHING with intelligence and panache. This goes WAY beyond lollipops and roses; it's musical champagne.

This box contains everything that Lesley recorded for Mercury except for a few untraceable tracks. The hits are here, of course, even including versions in foreign languages. If you are even thinking of buying this, you already know about the hits so, having reviewed the double CD Mercury Anthology already, I will focus on the music unique to this box.

I long ago realized that Lesley's album tracks, B-sides and failed A-sides are far more interesting than one would expect from such a singer, partly because (unlike so many sixties singers), Lesley recorded very few covers and partly because of the high quality of the original songs.

Reading the liner notes, it is clear that Lesley wanted to record more covers than she actually did. Her producers decided what songs Lesley was to record. Lesley didn't always like them, but recorded them anyway in return for being allowed to record covers of classic songs like Secret love - a song that is not ideal for Lesley because it stretches her vocal range, but she sings it much better than I expected and it actually works quite well. Of course, very few of these covers were released at the time, but they are included in this set for us to enjoy. Because Lesley wanted to record these songs against her producer's wishes, they are often sparsely backed but Lesley was in great form vocally. Just listen to her covers of Let it be me and To sir with love - truly inspiring.

Despite the covers chosen by Lesley, the vast majority of songs here are originals. They cover a range of styles from the early rock'n'roll to more sophisticated music, changing as the sixties progressed. Lesley was able to adapt to all the changes but radio stations and the public didn't appreciate it at the time. About fifty original songs were released on the double-CD Mercury Anthology, but plenty of great songs were left out, especially from the less successful but still interesting late sixties period. As with so many Bear Family boxed sets, a few alternate takes are included, but not many.

After listening to this set, it is easy to understand why Lesley's music is so well appreciated now. The mystery is why it wasn't in the sixties. Even so, you have to be very enthusiastic about Lesley's music (as I am) to want this. If you are, you will find much to entertain you.

I first knew Lesley Gore through classic singles like "California Nights", "She's A Fool", etc.. Lesley's albums that I could obtain all included surprisingly strong album cuts. This compilation includes everything recorded for Mercury. I've played these CD's numerous times: I simply never tire of Lesley singing these songs. Worth the money, get it while it's still available.

This fantastic box set is being marked up over 50% by Amazon. It can still be gotten brand new elsewhere for A LOT less. Amazon should be ashamed for this profiteering. I've owned this box since 1994, and I paid $90 then. Don't let them tell you it's discontinued, either - contact the manufacturer, just don't be duped into paying over $50.00 more than you have to. It's also available for $95.00 from one of the USA's largest mail-order (and Internet) CD/DVD catalogs, the choice of music collectors everywhere.

Like nearly everyone else, I first heard Lesley Gore on Sixties Top 40 radio singing "It's My Party" and her other big hits, the last being "Ccalifornia Nights" in 1967. This set includes everything she recorded for Mercury, including several which were never released. There are a few jazzy songs recorded early in her career here which are amazing, as well as an entire unreleased album called "Magic Colors" which is absolutely splendid. The arrangements are terrific and her singing is spot-on. It is truly a shame that the "Magic Colors" album never saw the light of day. If you like late-60s heavily orchestrated rock, these selections will be worth the admittedly steep entry price by themselves. This is a wonderful set!

By far the best compilation of songs by Lesley Gore EVER! And it comes in an LP-sized box with a very interesting liner-note booklet with great photos and loads of interesting details on the life and career of Lesley. I saw her live in concert last month, and at 64 years of age this woman is formidable! Her voice is better than ever and she goes beyond her hits to tackle songs by John Lennon and even Cold Play! The liner notes talk about how scared to death she was of performing live back in the beginning, but you wouldn't know it now. She embraces the audience and fills the stage with a dynamic presence.

This 5-CD set has everything she recorded and released in the '60s, including the rare and hard-to-find French, German, and Italian versions of her biggest hits. When I spoke to her after her concert last month I asked her if she indeed DID speak these languages or if she had learned them phonetically. She said, "Je parle un peu français, but I needed help with the German and Italian." Her teenage American accent in all three languages is quite endearing, and there are a few German numbers that were not translations of any of her English songs, and aren't available anywhere else. There are also some interesting alternate takes here and there that you won't find on any other compilation.

A gorgeous collection, beautiful to look at as it is to listen to.

I have been an avid fan of Lesley Gore's since I was 16 years old. I ABSOLUTELY LOVE HER!!! This box set is just what the Dr. ordered. All of the hits I Love and some I had never heard before. "I Died Inside" and "Say Goodbye" are my two favorites that never made it to the big time but are WONDERFUL just the same. Just received my box set yesterday and am loving it. My car never sounded so good!!! If you are a REAL Lesley Gore fan BUY THIS SET!!! It's worth the money believe me!!!

It's a shame that Lesley Gore never seems to get the credit she deserves. Female vocalists of the '60s rarely do, and it wasn't until the singer/songwriter era of the '70s that female songstresses such as Carole King, Joni Mitchell and Carly Simon began to be taken seriously. I suppose it's because Ms. Gore's most famous material is considered fluffy, disposable pop; tales of unrequited love, etc. appealing to teenage girls.

Since 1983, I've enjoyed "The Golden Hits of Lesley Gore" from Mercury Records, but this 5-disc collection is the ultimate Lesley Gore experience that no fan should be without, containing all the songs from every album she recorded between 1963 and 1969. It proves there was so much more to her than the big hits available on the various "Best-of" compilations. Aside from Lesley's heavenly vocals, it's obvious the best studio musicians were used on these recordings and Quincy Jones and the other producers spared no expense as the production values are extraordinary and the orchestrations beautiful. Here's the breakdown:

Disc One:

Starts off strong with the bouncy, irressistible "Hello Young Lover (You Ain't Gonna Get My Heart)" which shares the same beat as "Party" and sounds like it would be right at home in one of those old Elvis or Ann-Margret movies. Of all the new songs I discovered listening to the box set, this one is my favorite. I can't help but imagine Candy Johnson frugging up a frenzy in one of those '60s Beach Party movies. The song is so wild and infectious, it's amazing the label never released this as a single.

"It's My Party" with its punchy drums, handclaps, unisex backing chorus and the girl-next-door image Lesley projects made it the perfect pop record and it's still amazing nearly 50 years later!

Also on Disc One are most of Lesley's other big hits such as "Judy's Turn to Cry", "She's a Fool", "Sunshine, Lollipops and Rainbows" and both the mono and stereo versions of "You Don't own Me".

Hidden gems include the chirpy "Danny"; "I Struck a Match"--which basically steals the plot of "Party"--but manages to be great in its own right; "The Old Crowd"; "Consolation Prize"; "Run, Bobby Run" and "If That's the Way You Want It". All of these are pleasant, lightweight pop songs about teenage love and heartache--Lesley's specialty.

The harpsichord seems a little overused on many songs on this disc, and the overabundance of ballads and covers such as "Misty" and "Cry Me a River" may give you the feeling you're listening to nothing more than a female Paul Anka or Bobby Vinton album. However, the pros definitely outweigh the cons and even an average Lesley song is miles ahead of Taylor Swift, Carrie Underwood or Katy Perry.

Disc Two:

Even though most of Lesley's signature tunes appear on the first disc, it's Disc Two that is most representative of the girl-group pop sound with which she is so synonomous and on the whole is the best listen of the whole box set, IMO.

Most of her second-string hits appear on this disc, such as "That's The Way Boys Are", "Maybe I Know" (my personal favorite), "Hey Now" and two versions of "Look of Love" (the original and one with Christmas bells).

The best thing about this disc is that there are some delightfully moody numbers here such as "I'm Coolin', No Foolin'", "Don't Call Me, I'll Call You", "Little Girl Go Home", "Say Goodbye", "I Don't Care", and especially the gritty, pessimistic "I Cannot Hope For Anyone". It's refreshing to hear Lesley display such attitude on these hidden gems. Anyone who liked Patty Duke's gloomy "Don't Just Stand There" will love these!

Other highlights are the fantastic, boisterous "Boys"; the dramatic and slower "Don't Deny It"; "Wonder Boy", which shares the same beat as the Vandellas' "Heat Wave"; the Phil-Spectorish "I Died Inside" which is driven by lively castinets; "Moving Away" somehow transcends its simplicity and cuteness (it doesn't hurt that the background vocals are superb); "You Didn't Look Around" combines a myriad of '60s musical styles. It has twangy Ventures-type guitar, blaring "Bend Me, Shape Me"-type horns, Four Seasons/Angels' clomp-clomp rhythm/handclaps as well as the charming triangle from Lesley's own "It's My Party". This everything-but-the-kitchen-sink approach actually works much better for this song than it sounds on paper.

Lesley sounds refreshingly sassy on fare like "Sometimes I Wish I Were a Boy", "Leave Me Alone" and "Wonder Boy", proving she wasn't all sugar and spice.

Whereras the first disc was saturated with them, there are only a couple of Easy Listening-type tracks on Disc Two. There's also an upbeat cover of "Once I Had a Secret Love".

It should be noted that the mix of "I Just Don't Know If I Can" (1966) sounds rather muddy and Lesley's vocals are somewhat buried, but this may have been the best possible master available.

Disc Three:

The third disc is a mixed bag and contains material from the era of the mid-to-late '60s when Lesley was struggling for airplay and chart success. Despite the lack of hits, I found this disc to be amazing and so representative of the 1966-67 sound.

Noteworthy efforts include the fierce "No Matter What You Do", a real departure for Lesley. It's a loud psychadelic-sounding/soulful rocker with a Jefferson Airplane/Aretha Franklin influence.

Covers of "It's All in the Game" and "Let It Be Me" are somewhat dull and uninspired--"Young Love" and "Will You Love Me Tomorrow" fare better--but Lesley's spectacular version of "To Know Him Is To Love Him" is just as great as the Teddy Bears' 1958 original, and one of Disc Three's most outstanding numbers--the strings are exquisite and spine-tingling.

We get couple of Spector-ish numbers in "Baby That's Me" and "What Am I Gonna Do With You" as well as an alternate version of "Sunshine, Lollipops and Rainbows".

The bouncy "My Town, My Guy and Me" is like a fast-paced "Downtown" while the soothing "Let Me Dream" is another stand-out and both of these have much in common with Petula Clark's output during this time.

"Start the Party Again" has a sound that the producers of "Sesame Street" appear to have stolen for their theme song--it's uncanny!

Both "I Won't Love You Anymore (Sorry)" and "Any Other Girl" have a lush sound awash with strings.

"I Just Can't Get Enough of You" and "Yeah Yeah Yeah (That Boy of Mine)" are fast-pumping, playful songs reminiscent of Jay & the Techniques' "Apples, Peaches, Pumpkin Pie" that feature great backing vocals.

"We Know We're In Love", though nothing special, is notable for being the number Lesley performed when she made her appearance on the very last episode of the long-running 1958-66 "Donna Reed Show".

Other highlights range from the groovy, frenetic, handclap-heavy "Off and Running" to the sullen "Just Another Fool".

The only problem with this disc is that the few quiet, piano standards appear in succession and drag it down. These should have been spread out more; otherwise, this is a great showcase for Lesley's lesser-known recordings, many of which are just as good as any Top 40 hits of the day. Though it's obvious that the girl-group sound and female vocalists were not enjoying great success during this period in Rock history, these superior recordings deserved better support and promotion from the label and from radio.

Disc Four:

The fourth disc contains material that sounds mostly the same as on Disc Three, featuring a mid-late '60s sound not unlike Paul Revere & the Raiders or The Monkees or Cowsills. Lesley's vocals have matured and she doesn't sound as girlish as on the previous discs.

"I'm Going Out the Same Way I Came In" is like a Four Seasons/Phil Spector hybrid.

"Cry Like a Baby" (not the Box Tops hit) is a great slower, sorrowful number with lots of tambourine and fuzz guitar.

Lesley uncharacteristically snarls her way through "The Bubble Broke", which has a darker sound than most of her other material, and it's a refreshing change.

The sadly underrated "California Nights" was a much bigger hit here in Canada than it was on Billboard (#16 in 1967) and sounds like Lesley's answer to a Beach Boys song from their "Pet Sounds" era.

"Magic Colors" has a Mamas & Papas feel to it right down to the flute in the background.

"How Can I Be Sure" is good but won't make you forget the Rascals' superb original version; the same can be said about Lesley's take on "To Sir With Love", except she sings an additional verse we didn't get to hear from Lulu (at least not on the record).

By the end of the disc, it's clear that Lesley's sound has changed with the times as a few numbers have an early '70s groove to them. "Take Good Care (Of My Heart)" sounds like a cross between Honey Cone's "Want Ads" and the Miracles' "I Second That Emotion"; "I'll Be Standing By", radiates the exuberance of a young Michael Jackson on one of the Jackson Five's early singles.

Disc Five:

I admit this one is a bit of a disappointment and I regard this solely as a bonus disc since the majority of it consists of German and French versions of Lesley's biggest hits.

It does start off with some very fine numbers though, including Lesley's versions of "Wedding Bell Blues", "Got To Get You Into My Life" and a "98.6/Lazy Day" medley. The best songs here are the Vegas-styled "All Cried Out" (also covered by Dusty Springfield) and "One by One", which sounds like late-'60s Lesley paying tribute to her 1963 heyday.

The sound quality on all discs in this box set is excellent on every song except for the ones I've made mention of. This is the ultimate Lesley Gore collection for those familiar with all her big hits and want more, but I would do an online search because you can find it cheaper elsewhere. Either way, I can't recommend this enough!