lesley gore album download Lesley Gore – The Ultimate Collection: Start The Party Again 1963-1968 (2005) Lesley Gore – The Ultimate Collection: Start The Party Again 1963-1968 (2005) EAC Rip | FLAC Image + Cue + Log | Full Scans @300 dpi, JPG, Included Total Size: 493 MB | 3% RAR Recovery Label: Raven | Australia | Cat#: RVCD-225 | Genre: Oldie. A 32-track, 77-minute plus blockbuster collection of the very best recorded moments by one of the 60s brightest and most enduring female stars. Includes the Top 5 smash singles It’s My Party, Judy’s Turn To Cry, She’s A Fool and the feminist anthem You Don’t Own Me. Classic productions by Quincy Jones, Bob Crewe, Marvin Hamlish and Gamble & Huff. Superb enhanced quality audio. Detailed booklet packed with evocative photos and informative liner notes. ― Amazon. Additional Info: • Released Date: November 21, 2005. Tracklist: 01. It’s My Party – 02:22 02. Judy’s Turn To Cry – 02:13 03. Just Let Me Cry – 02:17 04. She’s A Fool – 02:09 05. The Old Crowd – 02:28 06. You Don’t Own Me – 02:31 07. Run Bobby Run – 02:27 08. That’s The Way Boys Are – 02:15 09. I Don’t Wanna Be A Loser – 02:43 10. Maybe I Know – 02:36 11. Wonder Boy – 02:17 12. Hey Now – 02:18 13. Sometimes I Wish I Were A Boy – 02:06 14. Look Of Love – 02:02 15. Sunshine, Lollipops And Rainbows – 01:56 16. My Town, My Guy And Me – 02:28 17. No Matter What You Do – 02:47 18. You Didn’t Look Around – 02:54 19. I Don’t Care – 02:32 20. What’s A Girl Supposed To Do? – 02:27 21. What Am I Gonna Do With You? – 03:15 22. We Know We’re In Love – 02:12 23. Young Love – 02:26 24. Off And Running – 01:54 25. California Nights – 02:47 26. Summer And Sandy – 02:58 27. Brink Of Disaster – 02:23 28. Small Talk – 02:11 29. Sieben Girls – 02:30 30. Goodbye Tony (You Don’t Own Me) – 02:28 31. Nur Du Ganz Allein (It’s Gonna Be You) – 02:02 32. Start The Party Again – 02:15. [su_accordion] [su_spoiler title=”EAC Log” icon=”plus-square-1″ style=”fancy”] Click Here[/su_spoiler] [su_spoiler title=”CUETools 2.1.5″ icon=”plus-square-1″ style=”fancy”] Click Here[/su_spoiler] [su_spoiler title=”Back & Label” icon=”plus-square-1″ style=”fancy”] DOWNLOAD FROM. Password: www.LosslessMA.net. If you encounter broken links or other problem about this publication, please let me know and write your comment below. I will reply and fix as soon as possible. California Nights. When Lesley Gore recorded California Nights in 1967, it had only been two years since her last big hit -- "Sunshine, Lollipops and Rainbows," which made it to 13 in 1965 -– but it felt like even longer due to all the shifting trends of the late '60s. Assisted by producers Bob Crewe (who helmed seven of the LP's ten tracks) and Quincy Jones (who is responsible for the three other cuts, all arranged by Jack Nitzche), Gore dove right into the fashionable sounds of Los Angeles in 1967. It was hardly hippie and not quite psychedelic but those trippy sounds were certainly in the air and can be heard on California Nights via fuzz guitars, mind-bending echoes, and whirling strings, but all this is tempered by a good dose of go-go beats and middle of the road pop. All these accouterments make California Nights very much a record of its time, and if it didn't make many waves at the time -- the appealingly hazy title track made it to 16 but the album stalled at 169 -- it stands as something of an underrated period piece, anchored by the gorgeous, cinematic productions of Crewe and enlivened by the savvier Jones, who is responsible for the snappy rock & roll of "Off & Running" and the liquid pulse of "Cry Like a Baby," which effectively splits the difference between uptown soul and hip Hollywood flair. [Ace's 2015 reissue expands California Nights with 16 bonus tracks, most taken from the 1965 albums My Town, My Guy & Me and All About Love, along with a few singles and three cuts that first surfaced on Bear Family's big Lesley Gore box from 1994. All this material is more straightforward than California Nights, falling somewhere between middle of the road pop and pop-soul, and while that may mean it's not quite as distinctive, it's still well-crafted and pleasurable. Stream Top Podcasts. Take yourself back in time. back to high school. The ups and downs, the loves the losses, the struggles the triumphs, being together with your friends. feeling every emotion of it. Is 23 more than just a number to you? Do you respond to people by saying I don't wanna be anything other than what I've been trying to be lately? Do you expect to have life-changing moments while caught in the confetti or the rain? Are you One Tree Hill obsessed. it's OK. we're here for you. You can sit with us. 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Imagine if Gore had covered one of those two songs here, or perhaps did a '70s version of "It's My Party," "Judy's Turn to Cry," or, better still, updated with a sequel to the sequel. The title track, "Love Me By Name," like "Other Lady" on side two, is good, slick adult contemporary pop, but the songs remain decent album tracks with none of the appeal that Linda Ronstadt, Helen Reddy, and Rita Coolidge were having success with -- solid pop songs that helped establish Gore's legacy years before the new divas came to town. "Immortality," with its strong hook and Motown foundation, doesn't have the authority "You Don't Own Me" displayed. "Paranoia" is fun, but the album just doesn't resonate with the Gore that fans know and love. On some tracks she sounds like Lulu backed up by the Captain & Tennille -- certainly not a bad thing for pop fans, but it isn't the Gore who, when performing live, still packs a punch. That she and brother Michael Gore have had success as songwriters is another question mark here. The talent, the connections, and the fan base are all in order, but the album -- despite the "class reunion" feel to it all, tries too hard. A disc jockey on an open-minded, middle-of-the-road station could play "Along the Way" or the dramatic "Give It to Me Sweet Thing" and listeners would probably stay tuned. Tom Scott's intuitive saxophone on "Give It to Me Sweet Thing" is some of his best work on someone else's disc. The song is very artsy adult contemporary; intelligent music that's superbly produced. It's the most commercial moment on a good record that could have been so much more. Trading in "Don't Stop Me Now" for a slow cabaret version of "Maybe I Know" or "California Nights" (her 11th hit, which Jones did not produce), the way Neil Sedaka paid tribute to his past with the sublime update of "Breaking Up Is Hard to Do," would have helped the audience grasp this impressive outing. The reprise of "Love Me By Name" also works. Selling this at her shows would be a boon for those who follow Gore, but the intent of the album was to bring her back to the limelight, and Jones missed out here. A Jackson Five cover, say "Maybe Tomorrow," "ABC," or "I'll Be There" the way Isaac Hayes beautifully tortured "Never Can Say Goodbye" -- now that would have been something on an album too original for its own good. Magic Colors - The Lost Album With Bonus Tracks 1967-69 Lesley Gore. The superb lost sequel to the New Jersey pop icon’s “California Nights” album, with 15 extra tracks from the same period. Production and orchestrations by maestros Bob Crewe, Jack Nitzsche, Gamble & Huff, Steve Douglas, Herb Bernstein, Paul Leka, Thom Bell et al. New York City, 1981. An audience of New Wave hipsters (and me) has gathered for a screening of The TAMI Show, arguably (not really) the all-time greatest filmed rock concert. When Lesley Gore is introduced, snickers and catcalls resound. What’s this white-bread princess doing on a show with James Brown, Marvin Gaye and the Stones? Minutes later her powerful, intense performance of ‘You Don’t Own Me’ results in a standing ovation. Lesley Gore has always gotten a bum rap. After scoring a #1 on her first effort, the New Jersey teenager reeled off an impressive string of Quincy Jones-produced Brill Building hits while simultaneously pursuing her college education. After the hits subsided and Jones moved on, Lesley enjoyed a 1967 chart comeback with a couple of Bob Crewe productions that placed her squarely in the genre now fondly called Sunshine Pop. The comeback was short-lived, however, and Mercury Records shelved a planned album entitled “Magic Colors”. The world was deprived of a veritable Sunshine Pop masterpiece. Better late than never, Ace is proud to present “Magic Colors” in all its shimmering, swirling glory. The proposed LP was mostly produced by Steve Douglas, whose Wrecking Crew cohorts outdo themselves on the elaborately layered tracks. From the Neil Sedaka-penned title song to a vibrant cover of the Tokens’ Mann-Weil hit ‘It’s A Happening World’ and the inexplicably low- charting single ‘Brink Of Disaster’, the overall effect of “Magic Colors” is dazzling in its sophistication and complexity. Lesley and her brother Michael contribute a pair of songs and Teddy Randazzo’s beautiful ‘You Sent Me Silver Bells’ is a definite highlight, as is a cover of ‘To Sir With Love’ utilising the third verse that Lulu only sang in the movie. Lesley also nails the Rascals’ ‘How Can I Be Sure’ with understated sincerity. In the parlance of 1967, “Magic Colors” is one groovy album. 15 bonus tracks present a series of singles released in 1968 and 1969. The stars didn’t align to produce any hits despite valiant efforts by an array of crack tunesmiths and ace producers. Three tracks crafted by Gamble and Huff are pop/soul gems, and there’s a brilliant cover of Dusty’s ‘All Cried Out’ which went unreleased at the time. It’s hard to fathom why Lesley’s imaginative medley of ’98.6’ and ‘Lazy Day” wasn’t a hit, but easier to understand what went wrong with ‘Wedding Bell Blues’, which was pipped at the post by the 5th Dimension. Thus ended Lesley Gore’s Mercury tenure. The future would hold more great music, more songwriting (she and her brother shared a 1980 Best Song Oscar nomination) and a highly successful performing career that endures to this day, all on her own terms. New York City, 2011. A Broadway musical travesty about the Shirelles (but not even close) portrays Lesley for comic relief, simpering and snivelling through ‘It’s My Party’ before running offstage in tears. The bum rap continues. “Magic Colors” presents a much more realistic snapshot of the multi-faceted artist that is Lesley Gore.