Reviews (page 4 of 8)
Sometimes your bags of Thanksgiving cookies get crushed because they were packed underneath the luggage for some reason. You gotta learn to look at things differently, a handful of broken cookie pieces is just a full cookie from a different point of view. anyways....in the first song he talks about being born to love a little girl and in the second song he begs God to make an uninterested woman love him. "I know she needs me she just doesn't know" real sucker shit Dion.
I was born in the 80s and all music that I can remember being played is something similar to what Dion delivers in this album. Very cheesy lyrics and melodies. . A 3 star album to me.nok in the background but not somemthing I would choose to listen to. Also the album is over an hour long, so yep, it doesnt help as well.
++: Born to Be with You, Your Own Back Yard, (He's Got) The Whole World in His Hands, Only You Know, Good Lovin' Man +: Make the Woman Love Me, In and Out of the Shadows -: New York City Song 7,3/10
Spotify also has the Born to be With You/Streetheart combination, and when it flips over you really notice the difference in tone. The "Born to be with you" side is slow and almost morose at times. Streetheart is upbeat pop. Is this all Phil's influence? Dion seems to think so.
Generic 60's pop- sounds very dated for '76. Trying to look like John Lennon. Heavily reliant on reverb. This has been one of the hardest albums to get through so far.
I like Dion's older stuff, and I love the Spector Wall of Sound production on the songs that have it. But I just had a really hard time getting through this album. Maybe I wasn't in the right mood for it, but I found it meh.
A much better album than I expected it to be.
2 out of 5 I was expecting nothing, and I was surprised to be wrong. More 70s alternative than slow rock.
Probably need to give this one another spin some time. I liked the fuzzed out Phil Specter songs most.
Well, I listened to the reissued version of this album on accident, and the reissue combines Born to Be With You with Dion's next album, Streetheart. My original review would have said the album improved toward the end, but that was because I preferred the jazz, pop sound of Streetheart over Born to Be With You's folk pop. For what it's worth, Streetheart was several years ahead of the smooth soul music of the eighties, and I found myself impressed. Since I'm only reviewing Born to Be With You, my review is less than favorable. The songs blended together and were bland. Dion didn't write most of the material either. Most of the songs seemed to be plucked directly from the sixties. I'm unsure why this album was included. It couldn't have been because a white man covered the African American spiritual "(He's Got) The Whole World in His Hands."
I have heard some of Dion's big 60s hits, so I was intrigued to hear what a late 70s Dion would sound like. The conclusion? Meh. It was just okay. From his 60s sound, "Runaround Sue" and others are iconic decade standouts. But the sound on this album doesn't really stand out from what others were doing at the time. This wasn't bad, but it was not outstanding, either. Probably about a 2.5 for me, but no desire to round up.
got 10 tracks into this, paused to do something, and just couldn't bring myself to restart. Mid-70s pop rock. yuck.
Rock n Roll
Average album by an above average artist.
I liked this a lot for whatever reason. It was soothing and pleasant. The style varied but had soulful parts, folky parts, and plenty of others mixed in. There weren't really any standout songs on it, but it was a good whole-album listen. It didn't do too much for too long, which I think was a strength. Had the album been longer it may not have been as easy to listen and enjoy. My least favorite song on there was probably the Whole World in His Hands rendition, but still liked it here better than a more traditional version. Songwriting credits list a number of people as the writers other than Dion (who was only listed on a few tracks), so I'll take some points away for that. It also was a bit easy to zone out on given there weren't many attention-grabbing moments on it. In sum, I found this to be a strong, complete album even if the songs didn't stand out on their own very much. The style was pleasant to me and I enjoyed it. I'd rate it pretty good as a whole. Overall: 3.5/5
Nice but didn't move me.
Meh
Música para pasarla en un velorio
This didn’t click with me in the slightest if I’m honest about it. Well sung and produced, but I wasn’t too into the songs.
Dull. Fillers everywhere.
He’s not a bad singer but this was boring
Wat krijg je als een album zo spannend is als een gerecht met de volgende ingrediënten: Water Bloem Thats it Want zo voelt dit album. Was dit groundbreaking toen het uitkwam? Ik kan het me eigenlijk gewoon niet voorstellen. Dit is beige, dit is achtergrond muziek, maar dan wel vrij saaie achtergrondmuziek. Overigens; waarschuwing JE HOEFT ALLEEN DE EERSTE 8 NUMMERS MAAR TE LUISTEREN! Zeer belangrijk, want dit album is gewoon niet zo boeiend. Denk dat het laatste nummer mn favoriet was, ook omdat ik er toen achter kwam dat ik niet meer van Dion hoefde te luisteren. Kan ik weer over naar de orde van de dag. FAVO: Good lovin man
Props to the reviewer that pointed out they combined this album with another that let me know how many tracks to actually listen to rather than mistaken my listen to two albums of this mid music.
Нещо не го усетих
To piggy back on the Apple Music review, Spotify seems to have combined albums as well. Just listen to the first 8!
Really not for me
Never heard of Dion. I listened to this album 4 times. Not sure still. 4/5
Not bad but not interesting
Not a good start--the yacht-rocky Born goes on much too long. And then too much string intrudes regularly. Why does every song seem to be treading on too much? An attempt at retro-pop that feels way out of place for 1975.
This was easy listening but eminently forgettable. He’s got the whole world in his hands gave me flashbacks to school assembly. What it was doing on here I have no idea. Much the same way as I feel about the album on this list.
The opening track did a disservice to the album, IMO. The cavern reverb sax and ... I don't think it was the strongest song in the set. I never quite came all the way over, so it treads the middle for me, but there's something here.
maybe i just wasn't in the right headspace, but i couldn't figure out why this album was chosen for this list. He's Got the Whole World in His Hands and Make the Woman Love Me both gave me the ick. The rest seemed mediocre at best. i'm sure there are better Dion albums out there.
Too melodramatic for my ears
Moody gospel-esque guitar vibes. Not bad, just not my thing. Also, romantic lyrics that use the term "little girl"....gross
Last night, my daughter told me that there was no Warren Zevon on this list! Unfortunately for Dion, this is now going to be the first album of many where I say to myself, "There are at least four Zevon albums that are FAR better than this!!" But even aside from all of that, this album sounds like a singer and a producer at least ten years past their primes just throwing stuff at the wall and hoping something sticks. Might be worth listening to if you want to hear one of the worst versions of "(He's Got) The Whole World in His Hands" ever recorded.
For some reason, I quite like this, and I can’t really work out why. I imagine that should I ever be in a coma, it will feel like this. There is no edge to these tracks at all. I think they would be worse for not having big Phil’s wall of sound around them and Dion’s voice is warm and not unpleasant. It’s got a smooth, gentle vibe with a vaguely country twang, and a quasi-religiosity. I’m not surprised to read that Bobby Gillespie is a big fan, and I can hear some of the influence on Primal Scream in parts. It’s a big change from his early Dion and The Belmonts days, like jumping out of a speeding car into a box of extra soft cushions, and it’s a bit naff. There is no way it should be in the book, but i did enjoy it.
Background music. Easy to listen.
Don't like it. 1 outta 5
Bland. 2.5.
I really like Dion and this was not the best example of his work. Personal enjoyment: 3/5 Relevance to this list: 3/5
Uh... It is not like this was a bad album or done badly or over commercialized or anything particular. I suppose I can say in the good old fashioned way "I just didn't get into it." And I don't think really that it is just me being harsh or not open minded or whatever. I think it is more to do with my common focus forgetting something: Music as I try to rate it is often on a scale I make that is BAD to GOOD. (ending in great). But this to me is like "elevator music" or the concept of it. It is background that I am entirely indifferent about. I don't automatically go "OMG listen to what is playing!" at a grocery store, only when it IS something I groove to will I do that. And there it is. Not a negative judgement, it played I listened. Meh.
Serviceable yacht rock
Offebar esch das Albom wo of Spotify verlinkt esch grad zwöi I ein, also einersiits s Born To Be With You, aber äbe au Sweetheart. Obwohl die rächt noch anenand usecho send, tönets doch rächt andersch. Ech bewärte do debi aber trotzdem s Doppelalbom. Born To Be With You esch rächt a folk music aglehnt. Mer werd settigi zwar eigentlich relativ schnell langwiilig wels klassisch Jo eifach e Sänger, e Gitarre ond velecht e Schnörregiige esch. De Dion hed do aber das no chli usbaut. Ned nome chömed verschednigschti Instromänt vor, är wogt melodisch au meh als es för Folk klassisch esch, was de teilwiis zo rächt guete Lieder füehrt. Trotzdem esches halt emmer no klar Folk ond ziehd sech trotz experimentalität rächt it längi. Zudem esches halt wenig energetisch und tendiert dezue chli sad z si. Au das chond halt ned bsonders guet ah. Au bim zwöite Teil esches schwierig dem es gnaus Genre zuezwiise. Ech hätt aber am ehschte gseid dass es Pop met e chli Rock esch. Gwössi Motiv erennered debi rächt a anderi Könschtler and Stöck, wie öppe de Billy Joel. Wer sech wie inspiriert hed esch aber schwierig z säge. Osser dene Motiv heds aber söscht wenig momänt gä woni ha müsse säge dass es scho no geil esch. Meischtens esches halt so okay, mer chas lose aber es ged halt so vel anders wo de doch no chli besser esch dasi ned gse wieso ech das sett lose.
Melodramatic drivel. Worst of Spector and 70s impulses. I miss runaround sue. I’m sorry this happened to you, Dion
Not for me. Bit boring.
I don’t know why this is here, didn’t really enjoy it, and remember almost nothing about it. I don’t really know how to describe it, but the phaser effect over “he’s got the whole world on his hands” is quite odd
Dikke meevaller. Niet de muziek zelf, maar de lengte. Spotify komt aanzetten met een album van bijna anderhalf uur, maar het originele album is slechts 35 minuten. Verder is dit echt rete saai zeg. Ik denk eerlijk gezegd dat deze man best een leuk album zou kunnen maken, maar dit is niet dat leuke album. Trage nummers waarin niet zo heel veel gebeurt. Een beetje Bob Dylan-achtig, saaier maar wel beter gearticuleerd en gezongen. En die lelijke lompe productie die we gewend zijn van Phil Spector komt er ook nog bovenop. Ik had het er blind misschien niet uitgehaald, maar als je het weet hoor je het. Ik kan hier niet bijzonder veel mee. Zweeft rond de 2,5 dit. Ik ben de laatste dagen best positief maar ik ga deze toch even naar beneden afronden.
"Make a woman love me" has a very different meaning these days... There were some OK songs - but for the most part this was trying to be Paul Simon with a mesh of Paul McCartney. Maybe he wishes his name was Paul? I'll give it a 1.5 and round up because it's not horrible like a 1. But I don't understand how it made this list.
Some decent stuff, some was not nice to listen to. I’ll be charitable with a 3
Nothing special.....NEXT!
Pretty good
Favourites: Born to Be with You, (He's Got) The Whole World in His Hands, Only You Know, In and out of the Shadows, Baby Let's Stick Together
Liked this way more than I expected to - it's big orchestral soul, saccharine soft rock emotions, totally bloated arrangements and maximalist production, but the melodies are there, the performance is solid and the mood is chilled out and fully relaxed; it just feels nice - a warm bath of album.
Alright, average-y sounding older rock
A *very* average album. Not sure why it's on this list.
Nothing special about this. Not bad, but not something I'd choose to listen to again.
Was skeptical going in not being familiar with Dion other than Runaround Sue and other early 50s pop songs. I listened to the first song and then didn’t pull it up again for a couple weeks. But, on a quiet Sunday morning I put it on and listened straight through it and found it pretty enjoyable. Some surprisingly honest lyrics and rich arrangements.
Easy and digestible
too long and boring 2/5
Phil Spector klarade inte av att sabba detta. Kanske lite slätstrukna raka låtar, men fint sjunger och svängigt. En trea i alla fall.
The definition of middle-of-the-road
Didn’t care much for this but you can almost draw a direct line from here to Father John Misty. High 2.
This was pretty good, middle of the road, pop/rock. You can definitely hear the Phil Spector production. That said, I don't see what makes this an essential album.
I liked this, but I think I will have forgotten most of it by tomorrow. Some of this sounds like the solo music John Lennon was making with Phil Spector during this same time, especially "Only You Know".
Unremarkable and mediocre
old timey, wouldn't call it jazz? lovely though
Kind of a surprise to discover the guy I only know from WOW compilations had a more complex career than most CCM artists. This is still absolutely not my vibe, though. Sorry, Dion.
After reading about Dion, I thought of Bob Dylan. Their career trajectories are similar in the sense that they had early success followed by a turn to more mature materiel. Then they went Christian in the 80s, only to go back to secular music and experience late career renaissances on the Adult charts. Which, I guess, makes this Dion's Street Legal. Checks out. Street Legal was big in the UK. I would put this album at 2.5--not distasteful, but nothing stands out. Since Dion has disowned the album, I will round down.
hmmm... hard to pin down what it was exactly about this album that didn't click with me. i found the scant lore about this album (produced by phil spector, delayed release for a year, dion wound up disowning this record, it found later acclaim... somehow) more interesting than the album itself. nothing here grabbed me sonically (aside from in and out of the shadows, though i had heard that one before), but it was a pleasant enough listen to. highlights - in and out of the shadows
He's got a nice voice and I liked the melodies and harmonies.
What's this called? Not even interesting. Terrible album. Couldn't go past the first few tunes and no sense of FOMO
Born to be mild
Average easy listening in every way
as spicy as table salt, but objectively good music
soft, echoey 70s pop rock music. fair number of tracks are covers. it's said that this album didn't really get much attention when it was first released, but critics started to love it once the 90s rolled along. also produced by phil spector, so it has quite the distinct classic produced sound. this guy's voice tugs at the heartstrings of listeners, especially older generations. the right place to play this album would be a slow dance at a honeymoon, anniversary, or vacation getaway with your lover. some stuff is very choral at times, other times it's simply beautiful... almost sad, nostalgic beauty. it's an interesting spectacle of a listen, a few diamonds in the occasional rough when it comes to classic pop. he's a very talented musician, and even in his 80s he's recording music today that sounds practically the same.
It offers a great introduction and leaves us with wonderful sounds. In my opinion, I feel like it's missing something.
This grew on me over a couple of listens. I like some of the songs. I’m not sure the Phil Spector sound is doing them any favours though. 3.5
Not terrible, but there's nothing particularly good about it either. Mediocre 60s impersonation from the 70s. No one needs to hear this before they die. Favorite song: in and out of the shadows
*Important to note: Steaming platforms combine two records into one 20 song mix. “Born to be With You” is the first 8 tracks. A fascinating record in that it sounds unfinished, raw, and underproduced. Something about it feels like a forgotten art project worn by time.
This was a rough listen. Slow, poor vocals, and reminiscent of some poor bastard who's trying to make it big so he spends his last dime on studio time and somehow it made it onto this list. 3/10
Pop album from the mid-1970s. Phil Spector's production is the best thing about it, the music itself is nice, smooth, but not too memorable.
Not my favorite dion album but it's a good listen
224/1089 - This is for sure baroque pop.
I'm not sure how much I can talk about Dion here. I mean, until **today** I had no idea he even had an album on this list — or, for that matter, that he did anything beyond the days of "Runaround Sue" and "The Wanderer". Like, if I have any relationship with Dion, it's knowing him as the guy who made those songs and very little else. Maybe that Meghan Trainor made a mockery outta of "Runaround Sue" with "Dear Future Husband", but that's about it. No, if anyone's the star here, it's noted murderer and record producer Phil Spector. Yeah, Philly boy's back again. Haven't seen his ass since my group got that Christmas album he produced. And I gotta be real, I was kind of expecting the worst coming into this album. From what I was reading, Phil way overstepped his hand in producing this, and everything sounded like it was playing at half speed as a result. Dion himself would disown the thing and call it "funeral music." So here I started wondering to myself, "Oh, gawd, what am I getting myself into?" And it's not like I don't know that Phil doesn't always have the golden touch: I despise the cover of "Baby, I Love You" he had the Ramones do essentially at gunpoint, and I've heard a lot of the Leonard Cohen album he produced. Heck, I prefer the "naked" remix of LET IT BE to Spector's version. I just hadda wonder: is this new brand of Spector overreaching with his Wall Of Sound, or...? Here's the thing. It's not something I wanna admit in the face of Spector being a convicted murderer — and seriously, fuck him for that — but, y'know, I can never be anything but honest: when it's done right, I actually really like Spector's production work. And on this album, it's mostly done right. Like, yeah, it can absolutely be overblown sometimes, and there are times where it probably would've been better to keep things more stripped back... But I'm the last person who'll shit on over-production, so it's not like I have too much room to complain. I will say, though, as a result of Spector's production style, Dion himself kind of gets lost in the shuffle. Y'know, if you couldn't tell from how much I've been talking about Spector versus Dion. But on the majority of the album, which Spector produced, it's easy for Dion's voice to become just another brick in the wall, so to say. Like, there is actually a really sharp contrast between these songs and the two that Spector **didn't** produce, "My Own Back Yard" and "New York City Song". They're the only ones that sounded like "Dion" songs, where I could actually take a second to appreciate him and what he brought to the table. Heck, "New York City Song" is probably the best track on the album. The rest, meanwhile, is good, but I wouldn't say it rises too far above a mellow kind of fine. I enjoyed having it on while I was reading, but I'm not too terribly wowed by it. Besides the two non-Spector tracks, there wasn't really anything where I felt the need to listen too closely. Well, except for "(He's Got) The Whole World In His Hands", but only because that's the one song where Spector's production didn't work for me. I mean, with the whirrling, flangerized backing track... I have no idea what he was trying to do here, and it's the closest I'd come to calling any song on here "funeral music." Strange funeral that'd play this song, though. But, ah, yeah, I'unno. This album doesn't really make much of a case for Dion outside of those couple of songs I already liked, and as much as I can dig Spector's production style, it feels pretty "bog standard fine" here. If it weren't for "New York City Song" I'd be feeling a lot cooler on this thing than I am. It's absolutely not something where I understand it's something I **had** to hear before I died... But I can think of worse ways to spend a half hour. Still, it's a better Dion-related project than "Dear Future Husband" was. Now **that** would be a bad way to spend half an hour...
Despite having a murderer produce most of the tracks, and the fact that the artist called it "funeral music" due to said production, this is still pretty damn good. 4.5 bumped up to 5.
I’m at a 4. There’s an immediately striking line on the Wikipedia page for this album: “On its completion in 1974, Dion effectively disowned the record, stating that the production made it sound like ‘funeral music’.” I think he’s got a point, although I do think it’s a little bit hyperbolic & carries a far more negative connotation that I got out of listening to this. Yes, this is a Phil Spector disasterclass at times, but I only found 3 of the tracks here to truly suffer from the wall of sound effect: the opener, “Born to Be with You”, “(He's Got) The Whole World in His Hands” & the closer, “Good Lovin' Man”. Even with the wall of sound bearing itself down on these tracks in a way that feels far too noticeable, they each have their own little issues. “Born to Be With You” has all the potential in the world, but it just comes across as utterly plain. For as much as it tries to do, the production really holds it back. To my ears, it’s too long for what it is, spinning the wheels to a 7 minute runtime that doesn’t feel as satisfying as it could be. Past that, the instrumentation isn’t consistently rich enough to evoke the vibe it’s going for, even though Dion’s vocals meet the mark. It’s not his fault at all. It’s never really his fault at any point on this album; his vocals are STRONG, and often overcome some of the bad production choices to still make a good chunk of these tracks really nice. “(He's Got) The Whole World in His Hands” is simply caked in reverb, to a point where it’s obnoxious. I like the vibe of the track, but I see exactly where Dion would call this thing “funeral music” – it’s got a weirdly ethereal vibe due to the reverb, but not in a wholly spiritual way like I’m sure Phil Spector may have intended. It just comes across as nearly culty. With a better producer in tow here, I think this track has just as much potential, but there’s just too much meddling involved. “Good Lovin' Man” is honestly a fun track, and I like the 50s throwback style a lot here, but it’s just so overblown with the wall of sound that everything feels muddled, down to the backing choirs & instrumentation & even a good chunk of Dion’s higher registers. Under the hands of a better producer, this could be a super fun way to end the album, but with Phil’s hands on this thing, it just feels off. As far as the other 5 tracks go (“Make the Woman Love Me”, “Your Own Back Yard”, “Only You Know”, “New York City Song”, & “In and Out of the Shadows”), I like them all a lot. Phil Spector takes a playbook out of how Elton John’s “Tiny Dancer” uses a more subtle wall of sound (just go listen to the pre-chorus, you’ll hear what I mean), and it’s used to really strong effect. Honestly, a lot of those tracks feel very Elton-y, which is probably why I liked them. Granted, “In and Out of the Shadows” is HEAVY on the wall of sound, but since it blends much more with Dion’s more powerful vocals, the whole thing has a bombastic feel that makes it all work. “Only You Know” is probably my favorite one here; great lyricism about encouraging a friend, the instrumentation & vocals come through really nicely due to the more subtle wall of sound, and the percussion has some great highlights. As a whole then, even if batting 5 out of 8 would only be a 62.5% on the grading scale, I do think the 3 tracks that got hit by the wall of sound in a bad way are still honestly not THAT bad, and they have their moments. They’re just ruined by Phil Spector – not the only thing he’d murder in the next 30 years. It’s a shame this is the only Dion album on the list, because I LOVE the tone of his voice, and he seems like someone I’d really enjoy. I’ll have to hunt down some more of his stuff. As far as this album goes, I feel fine with a 4. The best tracks here are REALLY strong to my ears, and since it’s only 35 minutes, none of the affected tracks bring down the album that badly. I do think the 2.62 average is far too low, and it may be just an overreaction to the first track plodding along the way it does. Did it need to be on the list? I dunno, maybe. I enjoyed it though, so that works for me.
This is slower than I'd like. Reminds me of pre-disco Bee Gees minus all the nice harmonies. By (He's Got) The Whole World in His Hands, I'm ready for this to be over. Since it's not The Worst, it gets a 2.
A bit too long and a bit too tame. If I listened to this at a different time it might hit differently, but getting through the 1hr18min runtime was a slog. I wish there was just.. more? More risk, more expression, more creativity. Bonus point for Only You Know — which is fantastic.
4 tracks in and I'm making bets with myself about whether this album will go above 60 bpm at all... truly horrible so far. "(he's got the) whole world in his hands" sounds like it was recorded in a can by a potato. New York City Song is decent but still ... never gonna listen to this album again.
Good music to play in a lift.
Uninspiring at best. Bonus point for being short.
Nice vibe but a bit plain
Not the greatest album, but one of the greatest voices ever.
Easy listening vocals, reminds me or a subdued Van Morrison with less horns. Perhaps the last whispers of doo-wop and 50's oldies combine with meaningful lyrics. Little bit of blues, even a hint of early Bowie.
Nicer than people say - but I won't be coming back to this record.
i love the life story of this italian uncle and while this wasn't for me my girlfriend loves him so i do too
okay pleasantly surprised? i fucking love this???? LMAO
Not Bad
Has some decent songs that had an almost Lou Reed feel, but then it had some songs that were just background music.
Ho-hum melodies
This was fricking gorgeous. Who is this? Why haven’t I heard this before?
I actually listened to this album paired with Streetheart, thinking it was a double album. I think I enjoyed Streetheart slightly more, but this album had more standouts. Anyway, my main problem with the songs on this album is the lagging tempo of a couple of them. It brings this laziness to the songs, which I’m not sure was intended, but it really feels like it stretches them out. I still enjoyed the listen and found a lot of songs I liked from the two albums. Had this been the double album I thought it was, it might’ve raised the score for me. I don’t tire of Dion’s voice, and a lot of this music is the kind you can just sit back and relax to.
Feels like music for people who don't like music.
Typical 70s easy listening schmaltz that was ruined by Phil Spector's Ball of Mush production style. I think. The songs may or may not be hiding under there but not 100% sure.
Sounds like something my parents would have listened to. FYI, I'm 65.
Vibe
Some enjoyable music, but largely ignorable.
2.5
I hate the sneaky combining albums thing on streaming, almost made me listen to triple the length of this snoozefest
Innocuous, inoffensive, and mostly forgettable. The definition of mid.
Really solid album - just missing that special sauce to knock it up to a 4
Super! Coup de cœur pour Runaway Man .
Had never heard Dion before this. I did like some of the tracks. Some of the tracks were kinda random. Title track is my fav for now. 3/5
Way better than the album art would lead you to believe. This might be more of a Phil Spector record than a Dion one.
..
I don't remember anything about this album.
Dug it. Definitely a mood listen. Soothing voice to listen to, and once I really leaned into the lyrics, I grasped why it's on the list.
Peepeepoopoo
Kinda surprised I didn’t recognize more outside of the song on the bear. Happy I listened but not compelled to deep dive
Accidentally listened to the double album so I need to rate this based on the real album. It was fine. Very reminiscent of Runaround Sue that I knew this guy from. Preferred the back half of the double album but that doesn't count!!
listening to this album made me realize that the sound I associate with "oldies" isn't necessarily older music, but kind of that Phil Specter sound (derogatory)
Slow songs, maybe one good one.
Having also listened to a lot of oldies falling asleep, I apparently loved Dion without knowing it. This album ruins my childhood memories. Stone this man to death* already. *this is not a serious threat to any authorities reading this
Why am I listening to he’s got the whole world in his hands like I’m eight years old and back in Sunday school? Insipid. I’m sure that with over 40 releases, there’s a chance of finding something I like but I’m surely not about to go digging.
The production is weak and the songs are weak, and it seems like no one wanted this released. The experience was made more frustrating because I have such fondness for Dion's oldies hits. Also I don’t like songs about New York.
Pretty boring. Sorry, Dion. I didn't hate the New York song.
Boring
Even Phil Spector’s work can sound cliche. Weird to hear his production on this album.
Fine for what it is. 2.7
Came upon this after hearing Only You Know in the Bear last month and only really knowing Dion for his Belmonts work and really liked it. Got slightly Springsteen production vibes I feel, which is a big plus for me
Was doubtful at first and thought this was going to be a two star review. But it grew on my and listened to it two and a half times. Feels like a less snarky Steely Dan. Or what Dawes ripped off thirty plus years later.
this isn't terribly bad, but it also isn't a very remarkable album. in a way, it reminds me a lot of john lennon's 'rock n roll' album, but maybe that's because it's a spector-produced legacy act singing oldies tracks from the mid-70s. the production is a little all over the place on this one, even for one of the all time great producers (even if he is evil). dion's voice is nice but listening to this makes you feel like you'd rather listen to 'runaround sue' instead.
Every fibre of my being knows that this album sucks ass, yet I still can't help but admit it is at least a little bit pleasant to listen to. A begrudging 3/5
Another nice surprise
Dire
Good
Not for me. 1 stars.
You can hear the touch Phil Spector on this album. It’s decent but probably not worthy of the list.
Not my style
Perfectly fine. Enjoyable but not memorable, not something I could see myself returning to. Bumping up to 3 stars because it's enjoyable
Had to abort after 15 minutes and did barely even make it that far. The songs are buried deep under tons of kitsch and schmalz that any potential they might else have had is suffocated. My body physically rejected listening just one more minute of this.
407/1001 🌕🌕🌑🌑🌑
4/5 - Early Joel?
20 songs! It's so haphazard, could have been really good with half as many songs. I wish I hadn't read the stuff about how Dion came to regret the Phil Spector production by the time it was released. But I can see how the lack of cohesion happened. 2/5.
Levy muutettu tuplalevyksi, eli alunperin paikka tällä listalla tarkoitti vain 8 ensimmäistä kappaletta joten ne vain arvostelen kun tuli siivotessa kuitenkin kuunneltua koko tupla-albumi. Aika tylsähköä herkkää poppia. Vähän jotain kantri ja funk vivahteita. Olisin varmaan antanut 2 tähteä jos olisin kuunnellut pelkästään ne ekat 8 kappaletta, mutta mitä enemmän kuunteli niin tähän tykästyi. Ihan ok taas. Parhaat: Only You Know
I didn't like this. Maybe I'm just feeling grouchy, but I don't think that's it. It evoked exactly nothing. Is that worse than bad? I don't know, fuck it 2 stars. Added In and Out of the Shadows to my playlist but I've already forgotten how it sounds.
eeeee
The songs are too slow and too intentionally "anthemic" for my taste. The entirety of the record, particularly side 1, has a sluggish tempo and poor production on most instruments. Your Own Back Yard is an exception, having good-sounding guitars that make up most of the instrumentation. Dion's voice is fine but heavily marred by clumsy mixing and the compositions being kind of stale. I could tell this was getting a mediocre rating from me when I read the review telling me I could stop after song #8, and felt nothing but relief. Not that the album's terrible – in fact, it's tailored to be pretty listenable, especially if you aren't listening closely – but it's by no means great. (He's Got) The Whole World in His Hands, more noticeably than any other track, showcases some egregiously bad production, particularly on the vocals. It maxes out pretty much any time Dion makes a noise, creating a distracting static-y effect that drags down the entire song. Not that the other instruments were really helping. In and out of the Shadows has essentially the same problem. The entire record has a dated, gramophone-era feel, and not for the better. 1975 was the year of A Night at the Opera, Wish You Were Here, One of These Nights, Physical Graffiti... if you want to compete with the big guns for success, particularly success on what should be a highly competitive compilation of modern Western music (this list!), you need to do better. 2/5 Key tracks: Your Own Back Yard, Only You Know
Hmmm....I struggled with this 1. Good production. Nice sounds but very 1970's, which is not a bad thing. My sense is the songs just done hit hard, they're a little weak.
Should have stayed in 1975. Nothing offensive or memorable. Felt like listening to Barry Manilow. 2 stars because it didn't offend.
a couple of standout songs, with an overall vibe very similar to John Lennon and George Harrison's solo work of the early to mid 70s, helped by the presence of Klaus Voorman on bass
2.5 Voice totally fine but the album did mostly nothing for me
Easy on the ears. But really nothing remarkable on.
Took heed to listen to the first 8 tracks and I’m glad I did. The full double album would’ve been too much for me. Suprisingly found the middle of the album to be the most enjoyable. Another one where it was okay but wouldn’t listen again. High 2/low 3
Folksy, easy listening kinda vibe. It's technically adept, and Dion is definitely a talented guy. Just not my thing.
More wish washy music from convicted murderer Phil Spector
Not bad. Promising.
So cheesy my cholesterol levels went up by 500%
This felt inoffensive in a way that offended me.
Utterly forgettable faux soul pop music. This was boring as hell.
I wouldn't listen to it again.
I thought Dion’s vocals were good, liked a few songs enough with Only You Know being the standout for me. At times it reminded me a lot of Father John Misty without the humour. I read that Phil Spector produced this album and was drinking excessively in studio and Dion wasn’t pleased with how it turned out, I think I gotta agree. I’ll give his other work a shot but I didn’t much care for this. 3 stars
This feels like it's looking for something it isn't finding. The sound is full but not doing that much and his voice is good but not really going anywhere. I wish I had liked this more. It seems like it was something that had the tools to turn into something more and didn't pull it off.
I played it all the way through twice and could not retain anything. Fine easy listening music. Just not that interesting. Creepy album cover.
I don't really get the hate for this album, I'm glad I listened to it
This was fine, enjoyable to listen to…but nothing to love or hate. It is surprising though, since this is the guy that sang Wanderer. Just not sure why it’s on this list of 1001. Apparently even Dion himself wasn’t too wild about it. Once again, I give three stars.
Low 4, very solid
honestly 10/10
Maybe there's a reason (murderous) Phil Spector shelved this. This was ok, kind of generic pop, nothing new about it, not sure why on this list.
Ein alter Rock'n'Roller (The Wanderer), der mehr zum Singer-Songwriter mutiert ist.
This has a lot of lovely love songs. I like his voice and there are a good few catchy numbers. Could have possibly got a 5 but it's far too long and some songs are duds
Very bland pop album Standout song Your own back yard
I found it old fashioned and boring.
Would not have called it rock.
Well, this was a massive surprise. Based on the cover I was expecting some kind of mid-70s Euro folk, but what I got was a lush fusion of soul, R&B, and rock with some amazing **Phil Spector** production. This is blue-eyed soul in the vein of **Boz Scsggs** and I adore **Boz Scsggs**. Mostly produced by **Phil Spector**, this album has that signature Wall of Sound, but it’s darker, more introspective, even somber. The arrangements are slick but not overly so, the vocals are soulful, and groove is super smooth. It kind of evokes the emotional grandeur of **The Verve's** *Urban Hymns*, **Embrace's** *The Good Will Out*, or **Spiritualized** *Ladies and Gentlemen...* Genuinely astounded by this. I loved it so much that I listened to the follow-up **Streetheat** (1976), which was equally good and immediately reminded me of *Silk Degrees* by **Boz Scaggs**. I will absolutely revisit this, I might even buy it.
Like being spoonfed warm diarrhoea.
3.5 rounded down
Forgettable for me.
Possibly THE dullest album of all time
Some nice songs but nothing here really stood out to me
What love songs ought to be.
Bit creepy bit crap
You can definitely feel the Spector on this one. Felt kinda underwhelming, nothing stuck out too much. 2 stars
Flat, dull and dreary.
2.6
Lite märklig platta och artist.
List keeps churning out names I’ve never known. Part of my enjoyment then is reading up on them as I listen to them. Dion was nothing special for me. Pleasant in its effort but generally not for me. To read up on him though was a delight and learn how his influence can be seen still
This isn't great, possibly the worst sounding Phil Spector production I have ever listened to. It sounds like there is a build up of fluff on the stylus, despite listening to it on a lossless stream. Dion's voice sounds OK (although he looks a little like Billy Jean King on the cover) but the mono mix is muddy. Apparently there are three drummers, three bass players, multiple guitarists and loads of horns and strings, as is Spector's norm, but it all gets lost in a listless, lifeless mix. The songs sit somewhere between Edison Lighthouse and Bay City Rollers - light inoffensive MOR '70s pop with a little bit of country and droop thrown in. Apparently this was a big influence on Bobby Gillespie of Primal Scream, no idea why.
Bit boring not really my thing 2/5
Born To Be With You is an album that is pretty good and got better the more i listened to it. I didn't really have any expectations as to how this would sound considering that this album is a pop album and that genre can have albums that sound very different from each other but it mainly does seem to go for a doo-wop sound. The songs themselves did sound pretty good and all had a nice vibe to them which i would always enjoy. This album wasn't all too long either so it never really felt like it was dragging on. It is a good album but i still feel that it's formula would go on to be improved by other bands like Primal Scream. Best Song: Make The Woman Love Me Worst Song: Born To Be With You
This is nice. This takes me to a simpler time. I can picture kids at the pool, and parents grilling. No internet. No doom scrolling. Just humans existing during the best years of the US. Makes me long for an older time. Great vocals and instrumentals.
This guy strikes me as one of those super talented, extraordinarily technically sound studio musicians, the kind that can turn any song into any genre, can do Dolly Parton in grunge in reggae in standard country, even a rap, but had just a little bit too much ego to be happy in the second chair, but, at least for me, not enough of that magic that usually comes with legit star power. Nothing really to argue with here, except that it’s basically forgettable.
This was new to me and is great!
No thanks
boring as shit
Kuulostaa suurelta tuotannolta, on montaa soitinta ja taustalaulajaa ja biisit on oikein kauniisti tuotettu. Mikäs tässä siis kuunnellessa. Paitsi etten jaksaisi yli tuntia, cmon eka biisi ois voinut olla puolet lyhyempi. Kivasti laulut kyllä välttää liian imelyyden, se ei aiheuta turhautumista vaikka on saksofoni!
70-luvun puolivälin listahitteihin tutustuneena tämä ei yllättänyt. Mitäänsanomattomin tähän mennessä.
I enjoyed this, the production was nice and varied. I could see myself coming back to some of these once in a while. Had never heard of Dion prior to this site.
flavorless nonsense
Nope Nope Nope Nope Nope
VERY Spector, which has it's ups and downs. Only You Know remains the highlight
Sort of boring and one note. Nothing really wrong with it: Dion has a good voice and can express some emotion, but I felt nothing for this.
Your Own Back Yard stood out Album is a good capture of overall seventies pop production to that point.
This album was long. It seemed about 3 or 4 hours.
not enough sax solos in music these days.
Some songs were okay but overall just dragged way too much. Lot of decent ideas that seemed to be executed poorly
Like most of 1970s Phil Spector produced albums, the Wall of Sound doesn't work here. While musically, Dion is quite talented and has a knack for songwriting & arrangement, its a completely overproduced and drab record. The "rock" is tuneful but meandering, the traditional songs sound like funeral wailing, and the country music is trite. Unsure how this made the list except for favoritism or something.
I honestly can't decide if I like it or not.
Like the voice and the instrumental Fav song - Runaway Man 4/5
Nice 70s pop rock
Not interested
Slow paced echo vocal love songs produced by Phil Spector and showcasing Dion from the Belmonts fame....zzzzzz.
Somewhere between Warren Zevon and Jackson Browne, and that's fine by me! Not all classics but a plot of really great tunes and great playing. Title track is an absolute killer.
So THIS is where Father John Misty got it from. My toxic trait is that I love Phil Spector's production.
Dion is known for a couple of the most lively and infectious songs of the 50's and 60s with "Runaround Sue" and "The Wanderer" - this album isn't anything like either of those songs. Dion himself reportedly disavowed this album, saying that the production made it sound like "funeral music" This makes sense considering that it was produced by Phil Spector. This wasn't the first time he took the life from something, and it wouldn't be the last...
Now this is music brother!! Holy shit, he had me from the moment I pressed play just a timeless sound. I can’t believe that I’ve never heard any of these songs before today but I’m glad that I know them now! I wish I can transport back in time and listen to this for the first time again, 20 stars!! Y’all need to get your ears checked in my humble opinion.
Get this boring whiny shit out of here.
Nicely produced, well played, and well written songs. Vocals are pretty good as well. Unfortunately the songs don’t do very much for me.
Before its time and by that I mean this belongs in the 80's, the most snoozeworthy decade for music.
Dion is not a name I was familiar with. But “Born to be With You” is his 16th of 40 albums. And while maybe no one is familiar with his mid-career stuff, many more would recognize R&B/doo-wop hits “Teenager in Love” (1959) and “The Wanderer” (1961). I guess some older than me would be able to tell you those were Dion (& the Belmonts), but like most doo-wop hits from that era I couldn’t begin to tell the artists apart. Despite their impact on the culture of the post-war era, doo-wop groups are practically non-existent on the 1001. Most late 50s/early 60s stuff on the list is R&B, country, jazz, blues, world music, and early rock ‘n’ roll. Doo-wop fills an important place in the evolution of pop and rock music, and I would have liked to see more like Dion’s “Teenager in Love.” But not Dion’s “Runaround Sue” - that one is an almost cruel shaming of whoever Sue was. Dion evolved over 16 albums to the point where he made “Born to be With You” with Phil Spector in 1975. At first, it is totally missing the appeal of any of those doo-wop songs (though of course those weren’t written by Dion). It's pretty boring pop ballads until “Good Lovin Man,” including the most uninspired version of “(He’s Got) The Whole World In His Hands” I’ve ever heard. I was going to say that after “Good Lovin’ Man,” things were more interesting from that point on. But it turns out the 1 hour and 18 minute version I listened to was two Dion albums combined! All the more varied songs with R&B, doo-wop, and folk influences were from a different album. “Streetheart” opens with a cover of Smokey Robinson’s “The Way You Do the Things You Do,” which can’t hold a candle to Robinson’s original, but at least is better than “(He’s Got) The Whole World In His Hands.” That’s a different album though, so the improvement I observed is being wiped from the record.
I’m mad that I got 5 tracks into the Streetheart album that is paired with this in the 2001 rerelease. Much better at 35 min than what I thought was going to be 79.
Chill. Never heard of Dion, but didn't hate in the background. Wouldn't by the record though. 3 to be nice.
This was an alright listen. Decent enough background music. Nothing stood out in particular.
Meh. I don’t see what the big deal is.
I am tempted to give this a 4 because I was so pleasantly surprised.
I liked it surprisingly more than I thought I would, it had a very cinematic feel to it so just doing everyday tasks while listening felt like a scene from a movie.
Doet me niets, niet slecht verder.
A good album, I liked Make The Woman Love Me, Baby Let's Stick Together and If I Can Just Get Through Tonight the most.
Nice
Fine but didn't wow me
Leider ned ganz das album woni am sunntig abig nach 11 stund fahrt möcht lose, wird schonigslos und mit viel selbstvertraue geskipppt und zwei Stunde Stau hindehergschosse
öppe d'hälfti glost (1h 18min isch mer scho chli z'lang) «Only You Know» isch en riese song, känni vo de serie «Ozark» und hani scho paarmal glost im letschte jahr, abgseh devo hed mi kein andere fescht vom hocker ghaue aber solidi 3 weizehalm woni da im muul han weni das lose
Not really my style. Only got through part of the album.
Phil Spector’s Wall of Sound turns this album into a sonic tomb. Whatever raw honesty Dion may have been trying to bring is buried under layers of reverb, sludge, and lifeless pacing. I usually love emotionally heavy music. I seek it out. I live in it. But this? This is not that. This is a dirge with no payoff. The production doesn’t enhance the message. It strangles it. “Your Own Back Yard,” a song about addiction and recovery, somehow ends up sounding upbeat, which makes the whole thing feel dissonant and awkward. “Make the Woman Love Me,” the second track, features a hideous warbling vibrato that was painful to sit through. “Only You Know” wants to be the emotional centerpiece, but it’s so bogged down in echo it barely registers. “In and Out of the Shadows” just plods, offering nothing new in sound or sentiment. And the cover of “He’s Got the Whole World in His Hands”? Laughably bad. With twenty tracks on this album, it seems like I should be able to find one that works for me. The closest is probably “Good Lovin’ Man.” It’s still rough, but at least there’s a little movement in it, a little grit. It almost sounds like Dion coming up for air before the mud pulls him under again. Lyrically, this album doesn’t offer much either. As a writer, lyrics hold a special place in my heart. It’s extremely rare for me to like a song purely on musical merit when the words fall flat. In this case, they absolutely do. Or maybe it’s more accurate to say they barely show up. I get that Dion is trying to express emotion and vulnerability, but most of the lyrics are repetitive, shallow, and painfully uninspired. Even on “Your Own Back Yard,” which tackles a serious subject like addiction (something Dion personally went through), the writing is flimsy. He briefly hints at something more thoughtful with “I got a friend / His name is Richard Grands / He says you don't need / To get stoned to grow a friend,” but then tosses in “drinkin’... thinkin’... blinkin’” and sinks the moment. It’s uncomfortable to listen to, like watching someone bare their soul and trip over every line. And “If I Can Just Get Through Tonight” goes straight for the lowest-hanging lyrical fruit with “sorrow” and “tomorrow,” which aren’t helped by the equally limp arrangement. I’ve renamed it “If I Can Just Get Through This Album.” I’ve learned that Spector’s Wall of Sound involved massive instrumental layering, echo chambers, and mono mixing to create a dense, immersive feel. In the early 60s, it made songs like “You’ve Lost That Lovin’ Feelin’” iconic. Here, it results in death by overdub. The more they added, the less you could feel. It’s like putting too much makeup on a vulnerable face. You lose the expression underneath. While Spector deserves plenty of blame for how this sounds, Dion himself doesn’t do much to save it. The lyrics, the delivery, the pacing. None of it connects. Everything is just so cringey. I know it was the 70s. But the 70s also gave us actual great music. This isn’t one of those cases. This is a bloated, soggy mess of unrealized intent. Some people call it a cult classic. I call it a cautionary tale.
At first I was like “not too bad, nice vibe”, And then I was like “wow, these songs sound the same”, And then I was like “so this is what it felt like to get trapped on an elevator in the year I was born” And then I was like “I dunno if I can finish this” And then I was like “only 6 songs to go” And then it was over.
I love Dion’s classic hits like The Wanderer and Runaround Sue, but this was just mid. Bland and repetitive.
Ugh.
An hour and 20 minutes is just way too long for a mediocre album that is entirely forgettable and just blends into one long heap of normal. In the words of Randy Jackson, "that's a no for me, dawg"
Wasn't sure if this was THE Dion of Dion and the Belmonts fame at first looking at the release date, but sure enough it is. After listening, I wasn't wowed or anything. Sounds like the production and recording process was quite tumultuous. I don't really see the significance of this album to be honest. Would've preferred something from earlier in Dion's catalogue if anything.
Any individual songs was alright apart from the particularly myopically, plainly, painfully heterosexual ones, but taken all together, it felt like getting teeth pulled
Boring
3/5
Too much like easy listening for my enjoyment.
It’s fine but not especially memorable.
It turns out that this sort of easy listening music is not really my thing. Maybe its just this album, since there are some weird things with this one, but we'll get there. Firstly, I looked into Dion, and he seems to be mostly known for '50s and '60s Doo-Wop albums (I listened to some of it, this stuff is actually pretty fun), but on Born To Be With You, he slows things way down and focuses on writing heartfelt songs with some (admittedly) very nice vocals. However, this album is probably more well known for being produced by Beatles collaborator and genuine menace to society Phil Spector. While there are moments where his production *sorta* works here, he was a bizarre choice for an album like this, and it really doesn't do it for me. Most notably are songs where, to my ear, it really feels like Phil decides to assert himself, (He's Got) The Whole World In His Hands stands out in particular. It really feels like he just kinda brickwalled it, and while the result is interesting, almost psychedelic, it just is not what this album needed. I also sort of have an issue with a lot of the songs here on a sort of construction level. For the length and slow pacing of a lot of these songs, they just aren't strong enough to carry the album. There are moments that stand out, like I mentioned earlier, I like his vocals, and I think the sax parts on this are great. I also remember a lot of the lyrics being pretty interesting. This isn't enough to carry the album though, from what I've read, it seems that Dion himself has kind of disowned it. I didn't absolutely hate this, I just don't really see myself returning to it.
Sometimes you get an album on this list with the explanation, "No one thought much of it at the time [in this case not even the artist himself], but later there were some people who liked it and, well, now you must hear it before you die." I've learned that's not a good sign. Nevertheless, this album is... well, it's OK. But to get to 3/5 I have to round up and be in a pretty good mood. And today was a good day. Moving on...
This album walks a fine line between easy listening and muzak. It is wholly unremarkable. Nothing bad, nothing offensive, and nothing memorable (not that those are the things needed to make something memorable).
Я не понимаю хейта (здесь и на rym). Нормальный чамбер поп, даже в чем-то современный. Не очень разнообразно, но сука когда вы слушаете свой тридцать блюзрок альбом, вам нихуя не надоедает. Лучшая песня - Only You Know.
4- great love songs
I didn't know Dion before and now I wish I remained ignorant. Couldn't finish even a third of this. 78 whole minutes would be a form of torture. That said the recording is good quality, it's just that the musical content is utterly lackluster 1.8
A little country, a little gospel, a lotta tediousness.
I agree with the ARTIST that this is 'funeral music' unfortunately the funeral was for my ears. It's not the worst thing I've heard, but it's also not the best. Background music at a wake maybe.
Pretty cool to have on in the background.
70s pop. Easy listening. Very unremarkable.
Des fois, ça me tente pas.
Ça sonne comme un gars washed up qui a fait trop de coke et qui se calice encore plus que nous des tounes qu'y chante. Une fois en 1984, je suis tombé en bécyke à pédales; un moment qui a la même importance historique que cet album.
Reminds me of Elton John, but less flashy. Which kind makes this very average.
i think Phil Spector should have died or at the very least retired after the early 60s. not only because he was a violent psychopath who held people at gunpoint, not only because he abused anyone unlucky enough to know him, and not only because he shot Lana Clarkson in the head with a .38 snub-nosed revolver and killed her, but because he just kind of started sucking? like, even late Spector productions that are well received, like All Things Must Pass or John Lennon / Plastic Ono Band come off as bombastic and overcrowded to me. you can have a good song like "Instant Karma" or "My Sweet Lord" and then here comes Spector producing it with the same grandma's fireplace kitsch as "Happy Xmas (War is Over)". maybe you like "Happy Xmas", but you can't deny that the song is a little bit much. even the rawer Lennon cuts like "Mother" still have that "performing in a concert hall" reverb to it that every single Spector song has. a man can't perform a song alone on a piano, it has to be a piano at MADISON SQUARE GARDEN, WHOAHHHHH. it feels like the songwriter has to work around him and his abundance to get anywhere, and Phil very much didn't like that. what i'm saying is that late Spector is only as good as the artist he's got locked in his basement putting down endless takes. they've got to have the sauce to be heard above the Chinese Hell of Cloying Orchestras. the guy who sang Runaround Sue does not have the sauce.
Enjoyed listening to something I haven't heard in a while.
A collection of 20 b-side rejects.
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
5/10 Meh. A distinctly average pop country rock album dragged up slightly by a good voice and the Spector production tricks. Sometimes it works, sometimes it doesn’t, but I didn’t love the songwriting and found it a little boring. Best: Make the Woman Love Me
Very good.
It’s just an okay album. I don’t think this showed off Dion‘s pipes at all. I blame Phil Spector. What a disservice to a great vocalist.
I had insanely high hopes from the guy who did The Wanderer and Runaround Sue only for them to be completely and utterly dashed
Breaks zero ground
Kind of a slog at parts. “Only You Know” is great. The “I am off drugs now” song is a bit annoying and self important.
i like this chill music
Not sure why this is included in the list. Very boring, very mediocre pop songs. It is not bad music but not engaging in any way
Born To Be Forgotten
Noh aika perus albumi ei varmaan 1001 listalle noh
It's alright, but I couldn't finish the album - too wishy washy a sound.
Spotify has combined the album with Streetheart as well, so only listened to the 1st 8 tracks. Rather dull unimpressive music.
Okay I feel like I’m not going to get any stick for this one. Only You Know was actually really good, but that was the only song I found any real connection with unfortunately. He has a great voice though! Songs were just pretty samey and didn’t really go anywhere exciting - never even heard of this guy before!
great great voice, love it, although this album is unnecessarily long, its enjoyable to listen to and i appreciate that, i like how it livens up as you go into the album, queen of 1959 gives me madness vibes if they were american, would give it a 3.5 if i could
One of the songs sounded like that song “ I built the things down in Africa “ or however that song goes . Some of them were good . They all sounded the same . Why the flying flipping flip dickety duck is it so fucking long like please get a grip and make 2 albums .
so fricking long, why was it so long. my favourites were only you know and oh the night. would of been actually enjoyable if it wasnt so long, if this album was like playing in a restaurant then id be like oh this is a lovely vibe in here. but yeah couldnt get into it soz
Blind album and artist. Was not impressed and this album was dragging so much by the end that I almost started skipping songs.
Didn’t sit through it. Classic rock vibe, maybe later.
I liked. Phil Spector :)
Hope.
Reminds me of something my mom would have playing while cooking. So there are some nostalgia points there. Overall a relaxing listen
This may be the first album I don't finish on this list. I'm at track four and see that I still have an hour left. I can't even really place what I don't like about it.. it's just boring to a grating level.
感觉要给我唱天上去了
I do not fuck with this
Not bad enough to make me want to shoot a woman in the mouth, but you never know.
Not bad per say. Every track sounds like when you flip on to the 70's radio station, listen for a sec, and then go back to scanning the stations. Just kind of mid for me... I would listen again if I just wanted some chill background 70s music that I don't know the words to. 2.5
ok. it's nothing incredible but it's hard to say it's "bad". 8 tracks, 8 mid songs. 4,5/10
Not too bad I was very worried after hearing the start of the first song, but I felt like things picked up after that.
I had the sense that decent talent was squandered on this boring album.
Music to forget you are listening to music to.
Nothing exciting, but nice easy listening. Had never heard of him, but obviously a talented songwriter.
Well, that was a struggle. A plodding, stumbling dinosaur of an ElPee. At his best, the Phil Spector Wall of Sound approach creates monumental songs. Here, it just seems to be an effort to smother the album, creating a stodgy MOR mess. (No, I'm not a fan.)
Schmalzy.
I'm sure mom's in the late 70s loved this.
first listen decent
Wow. Phil Spector on production with the honest, earnest voice of Dion powering through really came through for me. It absolutely sounds like Primal Scream and a lot of other lush bands that appeared in the later 90's early auts. An underappreciated legend, I wish that this album was individual on Spotify. Just Wow
What the hell? I’m concerned when the first song sounds like the outro to Saturday Night Live. It’s as if the idea was to put all of Dion’s most mediocre songs in one album. One listen to his classic album Dion with Abraham, Martin, and John, Purple Haze and He Looks A lot Like Me has me scratching my head on why this excruciating set of strummers is worthy of a listen. Unless, god help us, there are more Dion albums on the list.
Meh
En neutral vindpust