Born To Be With You

I think this was added to the list to show those who are unaware of Phil Spector’s criminal history that not everything he touches is gold.

ATTENTION APPLE MUSIC USERS: Apple Music has this record paired with Dion’s 1976 follow up, “Streetheart”. You only need to listen to the first 8 tracks. You’re welcome.

Bed wettingly shit. A complete and utter disaster of a record that makes me want to strangle an infant.

You know the album just isn't good when the best song on it is a mediocre cover of a song that I like but not love. If I'm ever comatose, play this album because surely I'll wake up to turn it the hell off.

I think I'd rather listen to Morrissey than listen to this again.

Was my familiar with Dion’s earlier work, but this was a pleasant surprise

Great easy listening. No special single song, but as a whole, just click play and sit back and enjoy.

The very first note of this is a typical country-twang note... siiiiigh.... but hey wait, it's not country, and this actually sounds quite nice. The second song is nice too. In fact these are all really nice songs. He's got a nice voice, it's all quite heartfelt and there's some nice melodies and interesting ideas here. Real easy listening. It's consistently good all the way through. While it's not 100% my thing, the fact that there's 20 songs and not a single bad one is some achievement. 3.5/5 rounded up to 4

Pretty easy to listen to. I’d probably put it on again as chill background music

I was expecting a Wall of Sound pastiche. Thankfully this is more a Dion album than a Phil Spector Doo-wop record. It was uplifting, almost spiritual. The saxophone breaks come close to stealing the show. The album drifted a little towards the end, before rescuing itself with a rousing Good Lovin' Man as the closer. Dion deserves wider acclaim.

Lots of love songs

By 1975, Dion had already lived several musical lives — teen idol doo-wop king, folk-rock storyteller — and Born to Be With You was meant to mark his rebirth as a bruised, introspective baroque rocker. It also coincided with him clawing his way out of heroin addiction and a profound crisis of faith. His unlikely collaborator? Phil Spector, whose once-revolutionary Wall of Sound — built on layered overdubs, cavernous echo, and orchestral sweep — had begun to feel like a relic of a more innocent pop era. What followed was a toxic clash of egos and dysfunction, with Spector’s obsessive 100-take perfectionism and gun-wielding paranoia colliding with Dion’s fragile recovery and growing discomfort with the suffocating arrangements. The album bleeds that tension — strings, choirs, and reverb smother Dion’s voice until it sounds like he’s singing from inside a cathedral slowly filling with water. Dion’s vocals are gritty and weathered, often more resigned than defiant. Rather than commanding the songs, he drifts within them, allowing his voice to dissolve into the production’s shimmering fog. His phrasing is subtle, almost conversational, which makes moments of emotional clarity — like his confessional delivery on "Only You Know" — feel like someone finally surfacing for air. Musically, it’s a fascinating collision of Spector’s maximalist tendencies and Dion’s understated storytelling instincts. Tracks like the title song and "New York City Song" feel sprawling and over-orchestrated, yet there’s a ghostly beauty to their excess — a baroque rock requiem for two men’s lost primes. By contrast, "Good Lovin’ Man" offers a brief flicker of warmth, its groove looser, almost Stones-y, before the album sinks back into its somber grandeur. In the broader 70s rock landscape — defined by singer-songwriters pursuing raw honesty and bands embracing stripped-down rock or prog complexity — Born to Be With You felt out of step with its time, too emotionally direct for the era’s cynicism, yet too sonically bloated for the emerging back-to-basics aesthetic. Unsurprisingly, it flopped hard, with both Dion and Spector retreating from the wreckage — Dion toward the blues, Spector into self-imposed exile. And yet, decades later, the album’s haunted beauty has found a passionate cult following. Its emotional nakedness, its sense of two icons fighting the tide of their own irrelevance, and its sheer audacity. Sometimes, the best albums aren’t just about the music — they’re about the story. And this story is unforgettable.

A very nice listen. Had hints of maybe James Taylor mixed with John Lennon? A calm, but moving listen.

Great voice, great mellow album, can definitely hear the blues influence, especially in the first track (favourite).

What a strange selection for this collection. I've never heard of Dion, and am staggered to find out this was his 14th solo studio album, but having listened to it I'm not particularly surprised that it didn't make much of an impression when it was released. And very sad to find out (from Wikipedia) that Dion himself disowned the album due to Phil Spector's mangled production--Dion's description of the album as sounding like "funeral music" is spot on. (It also makes me wonder why any album that's been dismissed by its own artist was included in the project...) I *did* enjoy the bleak-but-hopeful "Your own back yard" and the simply-bleak "New York City song", perhaps because they were the two non-Spector-produced songs on the album. If nothing else, it's quite a contrast to his "Runaround Sue" jukebox days; in that sense it's a bit reminiscent to Dennis Wilson's solo album, albeit in a sort of reverse sense in terms of sobriety. The album also sounds like it should be played at a higher rpm or something, as if we're hearing it in slow-motion (or underwater). At least it's a pretty brief, unremarkable album. (2)

looks like Mulligan or O'hare. nowhere near as funny.

Loved it, this album opens with the title track and does it so well. He then just continues to get more impressive. The range of his vocals are so so good. The production is of course amazing but it’s by he who shall not be named. The first two tracks makes me want to make a rom com, first song used for the shot of the woman crying in her car about the man. The second is the shot of the man walking sad on the streets of NYC, peak winter. (He’s got) takes me back to primary school, however he does it a whole lot cooler than we could. Only you know blew me away, it’s gorgeously romantic and such beautifully crafted lyrics. Good loving man is a tone switch I needed and I appreciate it a lot, great way to close this album.

****

5/5 loved, maybe the best so far. Go on Dion.

Awesome sentimental bops

Surprised. Never heard of this until now. I dig the Phil Spector sound. Solid vocals. Awesome.

Rains coming but 5. Never heard of this guy till now but this album for me is great. Not the best vocals but lyrics and music is right there.

beautiful and soothing classic rock that really makes you feel nostalgic and happy - i don't come across stuff like this often, but i really like it.

Beautiful ballads and songs that rock and move and make you want to dance. So many genres are spanned on this album with BeeGees, the Eagles, disco, and even Simon and Garfunkle adjacent songs. I have never heard of this singer, but what an excellent song writer. Production is outstanding with supremely awesome backing instruments. This album is a banger and feels like it could be the Guardians of the Galaxy Pt 4 soundtrack.

Born to be With You I really really liked this, but there’s no clear discernible, describable reason quite why though. It’s not necessarily musically groundbreaking or thrilling or melodically inventive, but there is a feel to the whole thing that I really liked, a kind of slightly quirky middle of the roadness that I found interesting and engaging. It definitely shares that feel with Spector’s early-mid 70s work, especially Lennon of course, and it is a sound I really like; slower tempos, lots of reverb and separation, but great overall. There is some really nice instrumentation throughout as well, and I like the slight country influences scattered around, particularly on something like New York Song, and there is also some very George-esque slide in places. I’ve also always liked his voice, my mum had a late 80s album of his and although it was a bit cheesy he sounds great on it, and despite being pushed back in the mix a little he sounds great on this too, I love his tone and the New York accent that slips through. He sounds particularly great on In and Out of the Shadows and Only You Know. I listened about 5 times on repeat and it got better each time, and it’s definitely going in rotation. Solid 4. 🐣🐣🐣🐣 Playlist submission: In and Out of the Shadows.

I was like- why does Dion sound like this? And then song three- about being sober. Lol. Good for him, bad for music?

i like this chill music

Pretty solid album through and through, I would recommend it to people and listen to it again

Hmm, I love this.

Amazing

I had never heard Dion's solo recordings, only his Dion and the Belmonts material. This album was fantastic! Very smooth, great emotional construction, I really enjoyed being introduced to this,.

Finally! 5

nice, love it!

10/10 didn’t know Id like an album like this as much as I did, but hey, these songs are actually really good

Slaps

Amazing! I loved the vocals.

I know some Dion from the 60s, but this was the first exposure to his later work. It was not what I would expect from a former teen-idol doo-wop star. Quite good!

loved!!

Don’t really understand why this has so many bad reviews. Sure the lyrics are a bit shallow but music is very easy to listen to and it has a funky chill vibe

Very good.

## In-Depth Review of *Born to Be With You* by Dion Released in 1975, Dion’s *Born to Be With You* is a polarizing album that has evolved from being largely dismissed at its release to becoming a cult favorite. Produced primarily by Phil Spector, the album blends introspective songwriting with Spector's signature "Wall of Sound" production. Below is a detailed analysis of the album's lyrics, music, production, themes, and influence, along with its pros and cons. --- ### **Lyrics** The lyrics on *Born to Be With You* reflect Dion’s personal struggles and spiritual journey. At the time, Dion was overcoming heroin addiction and grappling with a crisis of faith, and these experiences seep into the album’s introspective tone. - **"Your Own Backyard"** is a confessional track about addiction and redemption. Its raw honesty resonates deeply, making it one of the standout lyrical moments. - **"Only You Know"** explores themes of longing and love with poetic simplicity, while **"New York City Song"** offers a melancholic reflection on urban life. - Tracks like **"In and Out of the Shadows"** delve into existential musings, while **"Make the Woman Love Me"** carries a sense of desperation masked by romantic yearning. The lyrics are often conversational and understated, which complements Dion’s gritty and weathered vocal delivery. However, some tracks lean toward generic sentimentality, which occasionally undermines their emotional weight. --- ### **Music** Musically, the album is an eclectic mix of styles: - It incorporates elements of doo-wop (a nod to Dion’s roots), folk-rock, baroque pop, soul, and even country influences. - Tracks like **"Born to Be With You"** feature lush arrangements with strings, horns, and layered instrumentation typical of Spector’s production style. - The acoustic simplicity of **"New York City Song"** provides a refreshing contrast to the more orchestrated tracks. Dion’s voice remains the emotional core of the album. His phrasing is subtle yet impactful, lending an air of vulnerability to the songs. The melodies are often hauntingly beautiful but can feel overly somber or slow-paced at times. --- ### **Production** Phil Spector’s production is both a highlight and a point of contention for this album. His "Wall of Sound" technique—characterized by dense layers of instruments and heavy reverb—creates an atmospheric backdrop that amplifies the emotional intensity of the songs. - On tracks like **"(He’s Got) The Whole World in His Hands,"** Spector reimagines traditional melodies with soulful arrangements that feel fresh and innovative. - However, his obsessive perfectionism reportedly clashed with Dion’s more understated approach. The result is a tension-filled soundscape where Dion’s voice sometimes feels buried under the weight of the production. Critics have described the album as sounding like "funeral music," with its slow tempos and cavernous echoes contributing to an almost oppressive atmosphere. While this works for some tracks, it can make others feel overly heavy or monotonous. --- ### **Themes** Thematically, *Born to Be With You* is deeply personal and reflective: 1. **Redemption and Recovery**: Songs like "Your Own Backyard" address Dion’s battle with addiction in a way that feels both confessional and hopeful. 2. **Love and Longing**: Tracks such as "Only You Know" explore romantic devotion with heartfelt sincerity. 3. **Spirituality**: The album has an almost gospel-like quality in its search for meaning and connection. 4. **Melancholy and Nostalgia**: Many songs carry a sense of loss or yearning for simpler times, reflecting Dion’s transition from his early rock-and-roll fame to a more introspective phase in his career. --- ### **Influence** Despite its initial commercial failure, *Born to Be With You* has gained significant recognition over time: - Artists like Bobby Gillespie (Primal Scream) and Jason Pierce (Spiritualized) have cited it as a major influence on their work. - Its blend of baroque pop and introspective songwriting has drawn comparisons to albums like Dennis Wilson’s *Pacific Ocean Blue* and Gene Clark’s *No Other*. - The album’s emotional rawness and sonic ambition have made it a touchstone for fans of melancholic rock and experimental production. --- ### **Pros** 1. **Emotional Depth**: The lyrics are deeply personal, offering insight into Dion’s struggles with addiction and faith. 2. **Vocal Performance**: Dion’s gritty yet tender voice anchors the album emotionally. 3. **Unique Production**: Phil Spector’s "Wall of Sound," while divisive, adds a haunting grandeur to many tracks. 4. **Cult Appeal**: Over time, the album has been embraced as an overlooked gem by fans of introspective rock music. 5. **Standout Tracks**: Songs like "Your Own Backyard," "Only You Know," and "New York City Song" showcase strong songwriting paired with compelling performances. --- ### **Cons** 1. **Overbearing Production**: Spector’s dense arrangements can overshadow Dion’s vocals and dilute the intimacy of some tracks. 2. **Pacing Issues**: The slow tempos across much of the album can make it feel monotonous or overly somber. 3. **Lack of Cohesion**: The mix of styles—ranging from doo-wop to baroque pop—can feel disjointed at times. 4. **Initial Reception**: The album was largely ignored upon release, which may deter casual listeners from exploring it today. 5. **Polarizing Sound**: Its heavy reliance on reverb and orchestration may not appeal to those who prefer stripped-down production. --- ### Conclusion *Born to Be With You* is an ambitious yet flawed work that captures Dion at a pivotal moment in his career. While Phil Spector's production adds grandeur, it also creates tension that sometimes undermines the intimacy of Dion's storytelling. The album's themes of redemption, love, and spirituality resonate deeply but are occasionally weighed down by its somber tone. For fans willing to embrace its melancholic beauty and sprawling soundscapes, *Born to Be With You* offers a rewarding listening experience that transcends its initial reception. Its influence on later artists underscores its enduring legacy as a hidden gem in 1970s rock history.

Surprised how much I liked this. Definitely set a calming kind of romantic 70s mood. Ideal for playing while working or cleaning or cooking with a lover ;)

I had never heard this, and was skeptical looking at the picture, but this was great. It was like a little bit of James Taylor, a little bit of Jim Croce sort of. I really enjoyed this. I can see myself listening to this more.

I've never heard of Dion before now, but this was actually more fun than I had expected. The record deviates a bit in mostly good ways from typical folk/blues singer/songwriter stuff at times, which I enjoyed. I think the only thing really holding this back is the length - by about 40 minutes in, I really got what he's going for here. Overall though, it's a decent album I could see myself coming back to. 7.5/10

Five minutes in: this is the Runaround Sue guy? This is my jam. I like runaround Sue and its frivolous ilk, but this feels so stately. I’m into it. My least favorite song is the last one, “good lovin’ man,” which feels more like what I expected from Dion.

A lot of this album sort of reminds me of a more streamlined and polished version of Gene Clark's album 'No Other' with its ambitious take on country-rock fusions. And I really love that album, so, naturally, I enjoyed this. A song like 'Only You Know' is undeniably grand sounding and is one of the many tracks that takes hints from the sounds of early '70s soul musicians like Marvin Gaye. The following 'New York City Song' was this cute acoustic cut, a nice introspective breather in the mix here. Some moments here like 'Make the Women Love Me' and 'In and Out of the Shadows' reminded me of the heartland rock sounds of Springsteen. I guess Dion really loves his string arrangements...I mean they never really got old for me on this album, so I'm cool with it. I guess this record is "generic-sounding" in almost every way possible, like the polished pop-music from the radio that I'm sure the alternatives that grew up in the late '70s got sick of. But I didn't grow up around that time so I don't care how generic this may or may not sound, I just think the music here sounds pretty damn good.

Better than expected

This was far, far better than I was expecting

I was basically in a trance all day thinking about how much I’m in love and Dion just affirming to me through one long ballad showing all the different perspectives why. It’s beautiful. I get Sinatra, carol king, prince, and John Lennon somehow all wrapped in Dion’s own voice. I’m glad I was shown this album.

This is someone that has committed themselves to a path in life. I sense their faith in their calling as a musician.

This album is on so many quaaludes and I mean that in the best possible way. Dion is the dude that gave us “Runaround Sue” and “The Wanderer” with a sort of Jersey edge to the 60s doo-wop sound. But here, he’s doing pop tunes at 3/4 speed with all the wall of sound reverb you need. It’s an absolutely bonkers combo that somehow works perfectly. To be fair, there’s some songs here that drag things back a bit, but from the opening thunder of drums in “Born to Be With You” to the desperation of “Make the Woman Love Me”; from Phil Spector’s batshit production on “(He’s Got) The Whole World In His Hands” to the gut punch of “New York City Story”, this one is a real hidden gem.

Unexpectedly really good. Loved New York City Song.

This was really fun. It’s a cool take on the blues, and really good song writing. I like the elements of jazz and r&b, with a dash of folk rock. Mostly, I just like all of the love songs. It reminds me Marvin Gaye, but less sexy. This was fun.

excellent

like slow-motion rain in a bittersweet romantic American movie scene with a busy street

A poor man's John Lennon is one's first reaction, but one likes the deliberate, unhurried and thoughtful pace here. It is sort of baroque, as one would expect from Spector, but the effect is quieter and more contemplative than the peak of Spector of previous decades. "NYC Song" is mellow and likable –  this is chamber soft rock at a pretty advanced stage of evolution. "More To You" sounds like the Love Boat theme song. However, after drifting into Streetheart, one believes it to be the better record, top to bottom, because it grooves and swings mellowly, in prime '70s fashion. Hard not to like in the classic easy listening sense.

very nice i wanna listen to it more

Some great classic rock from a guy I have never heard on. Reminds me of Jackson Browne a bit.

Enjoyed this album very much.

This album surprised me in that it did not sound like 20 songs all by the same artist at the same point in their career. It sounded like a few different artists, or a “best of” album. Each song sounded fresh, for an easy listening experience, despite being 78 minutes long. This album also sounds very timeless and well produced. If you asked me to guess the year this came out, I don’t think I could.

I started at 4-stars, went to 3-stars, then wished there was a 3.5-star option. Since I’ve been taught to round up, I will.

Make the Woman Love Me // Your Own Back Yard // Only You Know // In and Out of the Shadows //

Funsies

Liked it

One of the most amazing voices in music.

Wow. I did not expect this album to sound like this at all. It’s plaintive and melancholy and just lovely. I was a little put off by that one song where he brags about not doing drugs like other people, but that’s me.

Kevin will be relating to New York City song soon enough

Phil Spector is incredible

Incredible! I found Josh Tillman‘s father 😍

Pivotal album in his career. Great addition to the list

Folksy with some Van Morrison vibes. Timeless in a way.

What a blast from the past! Thoroughly enjoyed listening to this music of my childhood.

Most of these songs could pass as 80’s TV intros but I don’t care, it’s fire.

The style isn't really unique or innovative, but it was well executed and easy to listen to

Prog rock, mellow Gotta be in the right mood for this one Whole album is good

First half of album this man is in pain. 2nd half is a bop. Surprised that this is the guy who sang wanderer. Album was a bit too long but it's good 7/10

I was a little disappointed to get this album at first because of the length and the fact that the songs that I really liked from him weren't on the album, but I ended up enjoying it a lot. There were a few songs that sounded familiar, as well. His voice and the music were very pleasant to listen to.

There's a quiet, melancholic warmth to this album. It feels like a hazy walk home on a cloudy evening. The production is spacious, almost ghostly. There's a Neil Diamond vibe in the reflective lyrics and vocals, with a bit more vulnerability. The songs are soft and slow, yet they carry a weight that lingers. It’s intimate and a little sad, but comforting too.

"Born to Be With You" is the 14th solo studio album by Ameican singer-songwriter Dion (DiMucci). Yes, that Dion. The album tracks were recorded in 1970 and 1974, with six of the eight songs produced by Phil Spector. A host of musicians were used. The album was initially met with indifference in the musical community and Spector shelved it for 12 months. In the 1990's, it started to receive wide-spread critical acclaim with several artists, including Pete Townsend and Bobby Gillespie of Primal Scream citing its influence. Dion didn't like the album's sound, saying it sounded like a funeral dirge. The album opens with a cover of Don Robertson's "Born to Be With You." It stars out kind of country sounding with acoustic and slide guitars. Horns come in. A nice layered sound. Dion's voice is strong and spiritual. Good song. The narrator bears his soul in "Your Own Backyard." Acoustic guitar, bass and drums. A story of a man who lost everything to drugs and gets clean. This song would not be out of place on a 70's Stones' album. "Only You Know" starts slowly with an acoustic, prominent bass, drums and a tambourine. Horns and strings are added accentuating the melody. It's a love song; he needs to be with her. A beautiful sounding song. Spector brings his wall of sound on the closer "Good Lovin" Man." Horns, piano and female backing vocals. The tone is lightened up a bit. This would not be out of place in the late 50's and 60's. This is a really good album. It's soulful and spiritual. Dion vocal's are strong, spiritual and emotional at times. The music styles include ballads, folk, country and 50's to 70's pop. There's excellent musicianship with the guitars, drums, bass, strings and horns. Spector's arrangements and layering are top notch. The songs are either about relationships or down and out stories. A fun album that everyone should enjoy parts of if not all.

Hey Dion I thought you only did The Wanderer, this isn't half bad 1970s singer songwriter stuff. Shades of mid-70s Lennon and Simon.

Reminded me of Spriritualized, who I am very fond of.

I'm usually disappointed to see yet another 70s album pop up but this one was actually pretty cool. I liked the use of strings

I thoroughly enjoyed this. The type of white boy soul / pop that connects with my white boy soul / pop preferences.

Heat

I really don't get the hate for this album. Not sure it's my thing, but it's certainly competent. I absolutely love the Phil Spector sound. Everyone knows why he's a terrible human being, but man was he good at producing music.

Very good, if you are in the mood.

Man, this was really great. "New York City Song" and "Your Own Back Yard" were excellent.

Had to look into who Dion is to confirm he is the same "Runaround Sue" / "I'm the Wanderer" guy from the doo wop era. Like a handful of other doo wop artists such as Ricky Nelson, he kept on trucking through the 70's trying to find his own stylistic way in the changing environments. There are a few knods to his doo wop past throughout such as the first drum beat, straight out of track 1. There's a comforting 70's rock feel to this, which is surprising considering Phil Spector produced it. Where he usually sounds larger than life, in this case he allows Dion's flickering introspection to light the way. These tracks are real reflective, like a man who never expected to live long enough to count the chips he's got left. Despite all that, it never lands as completely dour, there's a hopeful acceptance that feels balanced and easy to embrace. Bonus- Spotify has this grouped with a followup "Streetheart" which is total 70's AOR yacht rock stuff, although it's different vibe, is also totally awesome.

Discovered this album quite some years ago, and in my memory it was a 5-star record - after all some songs sound like a blueprint for a band like Spiritualized - but other songs are a bit less special. score: 8/10

I liked this more than I should. Won't come back to it, but he has his charm.

Enjoyed this - not an essential listen I'll revisit soon, but a mature set of songs with some fun production flourishes.

Like this more than I thought I would. There are a couple of songs I knew. A lot I didn’t. I’d put this on in the background, I think. 3 seems too low. 4 too high. But I’ll round up to 4.

This was weird in a wonderful 70s fever dream way. It reminded me of John Lennon's solo work - a fair amount of meandering with different genres and covers of songs. Honestly, I liked it. The album sounds like something my hip aunts & uncles would've listened to while chilling & smoking pot. I listened twice & I'll listen again. It's quirky enough to be interesting.

got better as it went, a little long

I know one Dion song off this album, Only You Know, but I'm not sure why. Perhaps it was a discovery playlist but it really reminds me of moving back to Brighton in 2017. Good song! I enjoyed plenty of this album but found it too long by the end. Too many songs that sound similar.. but overall nice solid song writing I'd say

Soft rock at a pretty high level, approaching but never reaching fully Spectorian shlock. "Only You Know" and "NYC Song" are lovely. Don't sleep on Streetheart, either. There are a few winning cuts there, too.

Ок. 4/8 – 50%

Well this was a surprise. Gonna add this into the list of artists worth a deeper dive into.

Interest grew with every listen and a fairly mundane listen at first became an intriguing pop baroque record with unusual song choices and an uneasiness just below the surface.

A mix of pop, country, crooner, folk. Not quite on a par with the classic 60s pop / do-wop for me (Runaround Sue is a certified BANGER) but certainly does enough to show why he's regularly listed as one of the best vocalists ever. Lovely stuff.