Have been a record nut from the time I learned to talk. My definition of a true record collector is "a person who knows how to appreciate the good aspects of a bad record." That's me in a nutshell. Have a special fondness for Bob Crewe productions, Lou Christie, and just about anything written by Burt Bacharach and Hal David.
This LP ranks in my top 100 albums of the 1960’s. I purchased it solely on the basis that it was written and arranged by Jim Webb. From the moment that the opening "Prologue" melded into “The Magic Garden”, I knew for sure this was going to be a great ride. As a writer, Jim Webb could practically do nothing wrong during this period, and the arrangements here are all top of the line. Excellent production by Bones Howe. The 5th Dimension are given room to stretch, and never sounded better. If you like pop music, this one’s a keeper.
ReviewBob Lind is a name that is probably not familiar to anyone except hard core 60’s music fans. However, his one big hit, the self-penned “Elusive Butterfly” is one of the most outstanding singles of that decade. In late 1965, the pop world was captivated by the opening strains of “You might wake up some morning to the sound of something moving past your window in the wind.” The song is filled with one evocative phrase after another, and still sounds as fresh today as it did back then.
Generally speaking, one hit wonders do not usually release albums with any particular merit. “Don’t Be Concerned” is a complete exception to that rule. Mr. Lind not only has the soul of a poet, but also a strong melodic sense that serves each of the selections well. Aside from the throwaway “The World Is Just a B-Movie”, there’s not a weak cut among the other eleven.
Excellent production and arrangement by Jack Nitzsche.
ReviewThis is probably the Lou Christie album that would appeal to the widest range of listeners. Side one covers an excellent group of contemporary songs from the mid-60s, and Lou handles both ballads and uptempo numbers in fine fashion. Of particular note is an interesting and effective rendition of the Lennon-McCartney classic, “If I Fell”.
Side one is good, but the real fireworks start on side two with all six songs written by Lou and his partner Twyla Herbert. Five of the six feature his distinctive falsetto, and are filled with one killer hook after another. Aside from the falsetto, Lou has one of the great voices in pop music with an exciting sense of urgency. Both he and his partner knew how to tailor a song to his vocal strengths, and were at the top of their game here.
Side two is not just the the monster hit “Lightning Strikes” and five other also rans. There are at least two other selections on this side that have the word “hit” written all over them, plus three other very worthy album cuts (“Jungle”, “Baby We’ve Got To Run Away”, and “Diary”). Of particular note is Christie’s use of female background singers who play an essential part in his overall sound. This is as much of his trademark as is the falsetto, and adds an exciting element that is rare in most male vocals. The background harmonies on all songs are every bit as good as they are on “Lightning Strikes.” They are creative in ways that truly move a song along, and a pleasure in their own right.
Unfortunately MGM was a record company with lots of money coupled with almost no clue how to effectively promote an artist. The potential follow-up hits (“Trapeze” and “Cryin’ in the Streets”) got criminally buried on the b-side of Lou’s first two releases, and he was never able to build the kind of momentum necessary to sustain a singles artist back then for more than a couple hits at a time. Also, the failure to release and promote another a-side off the album undoubtedly did nothing to increase album sales.
This is my favorite Lou Christie album. On the strength of Side two alone, I would give the album a 9.
ReviewThis is probably the Lou Christie album that would appeal to the widest range of listeners. Side one covers an excellent group of contemporary songs from the mid-60s, and Lou handles both ballads and uptempo numbers in fine fashion. Of particular note is an interesting and effective rendition of the Lennon-McCartney classic, “If I Fell”.
Side one is good, but the real fireworks start on side two with all six songs written by Lou and his partner Twyla Herbert. Five of the six feature his distinctive falsetto, and are filled with one killer hook after another. Aside from the falsetto, Lou has one of the great voices in pop music with an exciting sense of urgency. Both he and his partner knew how to tailor a song to his vocal strengths, and were at the top of their game here.
Side two is not just the the monster hit “Lightning Strikes” and five other also rans. There are at least two other selections on this side that have the word “hit” written all over them, plus three other very worthy album cuts (“Jungle”, “Baby We’ve Got To Run Away”, and “Diary”). Of particular note is Christie’s use of female background singers who play an essential part in his overall sound. This is as much of his trademark as is the falsetto, and adds an exciting element that is rare in most male vocals. The background harmonies on all songs are every bit as good as they are on “Lightning Strikes.” They are creative in ways that truly move a song along, and a pleasure in their own right.
Unfortunately MGM was a record company with lots of money coupled with almost no clue how to effectively promote an artist. The potential follow-up hits (“Trapeze” and “Cryin’ in the Streets”) got criminally buried on the b-side of Lou’s first two releases, and he was never able to build the kind of momentum necessary to sustain a singles artist back then for more than a couple hits at a time. Also, the failure to release and promote another a-side off the album undoubtedly did nothing to increase album sales.
This is my favorite Lou Christie album. On the strength of Side two alone, I would give the album a 9.
Recommend that you purchase the stereo album which provides a fuller highlight of the background vocals.