Lesley Gore: It's My Party (5-CD Box Set) (1963-1969)

The popular appraisal of Lesley Gore is that she sang teen soap opera songs that never pulled their substance much above puppy love, and while a cursory listen to songs like 'It's My Party' and 'Judy's Turn to Cry' would appear to support that view, there's more going on beneath the surface than meets the ear. For starters, Gore had a jazz background, and her vocal phrasing, even in her most generic releases, was always sharp and clear. Add to that the production of Quincy Jones, who worked with Gore during her peak Mercury years, and the end result is a series of recordings that continue to sound fresh and effective even into the 21st century. In retrospect, it would appear Gore's theme was always the struggle for personal identity (which also happens to be a pretty good definition of what goes on during the teen years), culminating in the powerful 'You Don't Own Me,' a feminist anthem a decade before the term even began to take hold. Even 'That's the Way Boys Are,' which could be read as a shallow song of blind acceptance, is sung by Gore with a sly sense of dismissal that turns the song on its own heels, while later-era tracks like 'Small Talk,' which illustrates the desperate ennui that can enter and undermine a relationship, demonstrates that in matters of love — even puppy love — personal identity is always at stake. This gargantuan five-CD set contains absolutely all those great tracks Lesley cut for Mercury Records between 1963 and 1969. Whether covering standards, helping put neophyte songwriter Marvin Hamlisch on the map, or adding to Carole King and Gerry Goffin's string of successes, Gore and her producers put a special stamp on everything they recorded. It's difficult to pick high points from Disc One and Two, the prime of Gore's career, when she was starting to sound like a woman rather than a girl. Disc Three shows her doing more mature songs with a very different, more assertive sound, courtesy of producer Jack Nitzsche. All of the Nitzsche sessions have a peculiarly soulful feel that was new to Gore's output; he worked some magic on 'No Matter What You Do' and 'Baby That's Me', a song The Cake also recorded. The Shelby Singleton sessions make up most of the second half of the disc. Alas, Gore did no recording at all in 1966, partly due to her desire to complete her education, and the lapse shows in this set — when she re-emerged in 1967, she lost a little bit of immediacy, as well as lots of relevance. The material from Disc Four covers this tail end of Gore's commercial career, including her last big hit, 'California Nights,' as well as a handful of unreleased tracks from the never-issued Magic Colors album. The opening of Disc Five shows Gore moving into a more sophisticated pop-rock mode, close to what Carole King would succeed with a couple of years later. Unfortunately, nobody was listening to Gore by this time, and her performing career came to a halt with the end of the '60s. The major part of this last disc is given over to Gore's foreign-language recordings of her own hits. http://www.allmusic.com/

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Wicked live footage of Leslie Gore telling it like it should be, early '60s:

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A performance of 'Hello Young Lovers' and 'Didn't We' on Playboy After Dark, late '60s:

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And, finally, Lesley on the Donna Reed Show, in 1966:

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