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The Beatleisms that Seymour shared with Twilley are still here, but the Sun-styled slap-back sound has been updated to a mix more reflective of '70s pop-rockers like The Raspberries and Plimsouls. Seymour's writing (along with contributions from Twilley and Bill Pitcock IV) lived up to the standards of his two albums with Twilley, and Richard Polodor's production captures all of the band's chiming goodness. Covers of Bobby Fuller's "Let Her Dance" and The Go-Go's "We Don't Get Along" are a real hoot.
Collectors' Choice first-ever CD reissue adds three bonus cuts that include a poppy version of Twilley's "Looking for the Magic" that sounds like it was remastered 3-4% too fast. All three sound to have been drawn from lower quality tape sources than the album masters, and don't really expand on the original LP's core charms. The booklet's pictures are great, but the liner notes consist of nothing more than quotes from Robert Hilburn, Twilley, Petty and others; this release deserves an original essay on Seymour and the creation of his debut. An essential entry in the power-pop canon. [©2006 hyperbolium dot com]
To fully appreciate this album, let's rewind back to 1980 for a minute or two. As I recall, the Top 40 musical landscape at the time was in the middle of a rather sudden disco-to-new wave transition with headbanger/stoner rock poised to seize the album charts following a long period of movie soundtrack domination (notably Saturday Night Fever and Grease). Disenfranchised teens caught a back-to-back double dose of two stoner classics within the same year: AC/DC's BACK IN BLACK and Pink Floyd's THE WALL.
While there's no denying that they're both great albums in their own right, looking at them from a pop culture perspective, their collective influence spawned a breed of "teenzillas" that were popping up all over small town America like something out of a George Romero flick (Attack Of The Zoned-Out Rock Zombies, anyone?). This musical stormcloud resulted in a marginalized segment of a hormonally-charged teen society that was becoming increasingly hostile (uppers: AC/DC) and bummed out with life in general (downers: Pink Floyd). A negative outlook combined with frequent acid trips can be a dangerous thing, indeed.
Anyway, if you didn't possess that certain glazed-over-Beavis-and-Butthead-in-a-lumberjacket look that was requisite for anyone to fit in with the burnout crowd, then you were the enemy and a bounty was on your head if you appeared to be anything remotely "disco".Read more ›
Most Recent Customer Reviews
It was honor to have known and worked with Phil. A great talent and human being. I am honored to have released this album for him so all his fans could enjoy the last recordings he... Read morePublished 10 months ago by Jack D. Baker
Been looking for this E.P. forever. So happy, that I found it on Amazon. Now if I could find that Seymour/Twilley album.Published on November 24, 2012 by Lip Davis
Certainly , this has stood the test of time. Phil had a great rock voice and was a knock-out drummer and singer with Dwight Twilley. Read morePublished on September 15, 2011 by Fred Gladden
I, too, was a huge fan when "Precious To Me" came out and I fell in love when he appeared on American Bandstand. Read morePublished on May 13, 2011 by Trish
I just bought the CD and I love it. I was 14 when the song "Precious To Me" came out and it brings back great memories. The song "I really love you". Read morePublished on October 20, 2008 by Matrixchic
Great power pop record in the vein of classic Cheap Trick.
Full of hooks and catchy melodies.
Another great one taken from us way too soon.
The song "I Really Love You"...Is one of the most beautiful works of Pure-Pop without the bubblegum. Read morePublished on March 25, 2008 by DreamPark 9
My first EVER sighting of this record was when I found it at a used record store in Chicago for .99cents. Read morePublished on July 8, 2007 by braamrock