LESLEY GORE – Boys Boys Boys - (Mercury) - 1964, comment, review, quincy jones.

It would be tempting to say something humorous about the title of this record in relation to the fact that Lesley was a lesbian.

And, I just did.

Well, I said something, though not humorous.

And, in any event, I don’t like defining a person’s artistic output on the basis of their sexual preferences.

And it may have no relevance as Lesley has said she didn’t know she was a lesbian till she was twenty years old (according to her) and she is eighteen here.

And, in any event it has very little to do with the music.

So, disregard the lines above.

Which you can’t, because you have read them.

Well, then put them to the back of your mind.

Actually, I should delete them.

Though in a roundabout way I just wanted to say as I have, “I don’t like defining a person’s artistic output on the basis of their sexual preferences”, with a proviso …unless that is the point of the artistic expression.

Check my other comments for biographical detail on Lesley.

Much of Lesley’s early work, and this is her third album (in two years) is the boy girl longing / hooking up / breaking up pop.

In fact, any of her albums could be called “Boys Boys Boys”

Boy / girl songs was the music of the time and had been the bread and butter in commercial pop going back to Bing Crosby and Frank Sinatra, down through Elvis Presley and even to the early Beach Boys and Beatles. Sure youthful rebellion had entered as a theme with Elvis in the 50s and the Beach Boys and Beatles added variations but it wasn’t until Bob Dylan (and other folkies like the Kingston Trio) introduced other themes into radio friendly pop that songs started to encompass other themes.

More power to Dylan and things must move on but there is something about these themes that resonate with teenagers and young adults. And, we were all teens once, in age and in attitude, at least in the West.

The song writing is pure and more honest that many a song written about “big picture” world themes, alienation, existential despair, and the meaning of life.

Probably because most people in the world have fallen in and out of love and can relate to the themes.

Of course, some of this is dated and some is a little silly but then you have the glorious Brill Building pop sound to tap your toes to. The themes rarely get in the way of the melody. The singalong-ability is everything.

This is what gave you radio airplay.

And, it still does (arguably).

The year was 1964 and the British Invasion spearheaded by the Beatles and the Dave Clark Five was under way, but Lesley held her own, albeit for a brief time.

Lesley was more feisty than most (perhaps it was her ambivalence about men, or her distance which gave her perspective which she could communicate through her voice, or perhaps she was just a perceptive person). Whatever the reason her best boy / girl songs always have a in your face fierce self-assertion which doesn’t dwell on self-pity or mournful regret like much of the other female vocalists singing in the genre.

She is godmother to Cher.

Having said that, pop being pop means she has to give a nod to the dominant attitudes of the day.

Some of have suggested that (some of) the songs on this album are a step back from the defiant attitude of her hits the preceding year.

For example in relation to the single, “That’s the way Boys Are”: “Music critic William Ruhlmann called the song "a well-crafted reflection from a sympathetic and understanding female perspective on the obtuse mating habits of boys." Author Richard Aquila noted that the lyrics "voice the era's acceptance of sexual double standards," in contrast with the theme of Gore's previous single, "You Don't Own Me". Aquila regards "That's the Way Boys Are" as one of several examples of Lesley Gore songs that regard women as dependents or passive objects, along with earlier singles "It's My Party" and "Judy's Turn to Cry." Musicologist Walter Everett described the song as one of the many 1960s sexist songs that "perpetuated a boys will be boys tolerance for male but not female infidelity." Music critic Greil Marcus also remarked on the way "That's the Way Boys Are" backs off from the "proto-feminist manifesto" of "You Don't Own Me" to a message of "he may treat you like garbage, but they're all like that, and we love 'em for it!"” https://en.wikipedia.org/wiki/That%27s_the_Way_Boys_Are

"It's My Party" (#1US 1963), "Judy's Turn to Cry" (#5US, 1963), "She's a Fool" (#5US, 1963), "You Don't Own Me" (#2US, 1964) were strong female statements (as well as big hits) where Lesley didn’t back down and got on with it. Here, there is some sadness and regret, but I think it is a long bow to imply anything other than just a bunch of songs being placed together for commercial reasons. The songs were probably all recorded around the same time (in fact “Danny” as the B side to “It’s My Party”) so I assume once something as defiant as “It’s My Party” was a hit that the record label tried to follow it up with more of the same. Sooner or later, when “more of the same” is used up they released the other tunes that were left.

Also, most of the songs are written by men.

Not everything is a conspiracy.

In any event there is nothing wrong with regret, mournful or not, sadness at the loss of love or longing just as there is nothing wrong with independence or defiance. All the songs here are pop about teenage love and heartbreak.

And there is plenty of the “old” Lesley here also.

This is her third album and she is in fine voice. Someone said that Lesley was basically a "girl group without a group" and this is a great description of her music – her clear, well enunciated, sweet voice backed with lots of hand-clapping, shing-a-lings and pop beat.

The beauty is by and large they (the powers that be) had enough faith in Lesley to try mainly new material on her. It was common for the teen pop stars, at the time, to rehash other people’s hits. Here, with the exception of one cover we have songs written for Lesley, first recorded by her as well as a couple she co-wrote.

The album is produced by, regular, Quincy Jones with arrangements by, regular, Claus Ogerman (an Afro-American producer (Quincy Jones), German arranger (Klaus Ogermann) and a Jewish pop singer (Lesley Gore) all with their eyes on the love life of teens).

Tracks (best in italics)

Side One

That's the Way Boys Are – (Mark Barkan, Ben Raleigh) – A great pop song with a sentiment that wouldn't pass the test nowadays, but then again, girl pop songs nowadays are rarely as catchy as this. https://en.wikipedia.org/wiki/That%27s_the_Way_Boys_Are
Boys – (Paul Anka) – first sung by Lesley. Another catchy pop song with another great vocal from Lesley and, perhaps, a template for some Motown tunes.
It's Gotta Be You – (Mark Barkan, Claus Ogerman) – first sung by Lesley. She also appeared and sung the song in the film “The Girls on the Beach” from 1965. This is more the standard pop of the day but still incredibly catchy.
Something Wonderful – (Oscar Hammerstein II, Richard Rodgers) – a show tune from the 1951 Rodgers and Hammerstein musical "The King and I" and done by everybody including Bing Crosby (1951), Doris Day (1960) and Nina Simone (1964). Okay, not really Lesley's bag. https://en.wikipedia.org/wiki/Something_Wonderful_(song)
You Name It – (Norman Blagman, Edna Lewis) – first sung by Lesley. Ballsy and fun with some rollicking piano work
Danny – (Paul Anka) – first sung by Lesley. This would be a special treat if your name was Danny. A girl swoons and desires Danny. Good fun. Pity the song title wasn't "Franky" though.

Side Two

I Don't Wanna Be a Loser – (Mark Barkan, Ben Raleigh) – first sung by Lesley. She appeared and sung the song in the film “The Girls on the Beach” from 1965. The song was also featured in the soundtrack of the 1964 movie The Pawnbroker about a Jewish pawnbroker, the former victim of Nazi persecution, (Quincy Jones was the films composer). A melancholy statement and a grest pop song. https://en.wikipedia.org/wiki/I_Don%27t_Wanna_Be_a_Loser
That's the Way the Ball Bounces – (Marvin Hamlisch, Howard Liebling) – an early work by legendary composer Marvin Hamlisch who with Howard Liebling wrote a few songs for Lesley. Very good.
Leave Me Alone – (Lesley Gore) – a great song. Well sung and thoughtful.
Don't Call Me – (John Madara, David White) – Madara and White had been in various white doo wop bands and wrote Lesley’s hit of 1963 “You Don’t Own me” (#2US), “The Fly” (1961 #7 US for Chubby Checker), co- wrote “At The Hop” (1957 #1 US for Danny & the Juniors), and later 1-2-3 (1965 #2 US for Len Barry). First sung by Lesley. A statement of defiance.
I'll Make It Up to You – (Edna Lewis, Gloria Shayne) – first recorded by Lesley. Not too bad but not a standout.
I'm Coolin', No Foolin' – (Lesley Gore, Sydney Shaw) – a little different with a nifty clip clop in the chorus. Very moody and very catchy.

And …

Lesley has many accolades but I suspect she is still vastly underrated. She is one of the best pop singers of the 1960s. This is a a really, really good pop album … I'm keeping it.

Chart Action

Singles

1964 That's the Way Boys Are #12

1964 I Don't Wanna Be a Loser #37

Album

1964 #127

England

nothing

Sounds

That's the Way Boys Are

mp3 attached