User:T.C.Parker/sandbox

=Love Me By Name= ‘’Love Me By Name’’, the 9th studio album by the American singer Lesley Gore, released in 1975. Quincy Jones produced and arranged the record, with musicians like the Brothers Johnson, Toots Thielemans, Herbie Hancock, Larry Carlton, Lee Ritenour, Tom Scott, Ian Underwood, and many other notable session players.

=Reviews=

All Music Review
Lesley Gore and Quincy Jones reunite 11 years after their last of ten hit records with a who's who of industry names and faces, many included in the group photo on the inner sleeve. The music is all grade-A, but given the collective star power here, this could (and should) have been a monster comeback album. Including the Brothers Johnson on "Sometimes" was smart, but the disco beat doesn't have the charm of "I'll Be Good to You" or "Strawberry Letter 23," the Brothers' own hits. Imagine if Gore had covered one of those two songs here, or perhaps did a '70s version of "It's My Party," "Judy's Turn to Cry," or, better still, updated with a sequel to the sequel. The title track, "Love Me By Name," like "Other Lady" on side two, is good, slick adult contemporary pop, but the songs remain decent album tracks with none of the appeal that Linda Ronstadt, Helen Reddy, and Rita Coolidge were having success with -- solid pop songs that helped establish Gore's legacy years before the new divas came to town. "Immortality," with its strong hook and Motown foundation, doesn't have the authority "You Don't Own Me" displayed. "Paranoia" is fun, but the album just doesn't resonate with the Gore that fans know and love. On some tracks she sounds like Lulu backed up by the Captain & Tennille -- certainly not a bad thing for pop fans, but it isn't the Gore who, when performing live, still packs a punch. That she and brother Michael Gore have had success as songwriters is another question mark here. The talent, the connections, and the fan base are all in order, but the album -- despite the "class reunion" feel to it all, tries too hard. A disc jockey on an open-minded, middle-of-the-road station could play "Along the Way" or the dramatic "Give It to Me Sweet Thing" and listeners would probably stay tuned. Tom Scott's intuitive saxophone on "Give It to Me Sweet Thing" is some of his best work on someone else's disc. The song is very artsy adult contemporary; intelligent music that's superbly produced. It's the most commercial moment on a good record that could have been so much more. Trading in "Don't Stop Me Now" for a slow cabaret version of "Maybe I Know" or "California Nights" (her 11th hit, which Jones did not produce), the way Neil Sedaka paid tribute to his past with the sublime update of "Breaking Up Is Hard to Do," would have helped the audience grasp this impressive outing. The reprise of "Love Me By Name" also works. Selling this at her shows would be a boon for those who follow Gore, but the intent of the album was to bring her back to the limelight, and Jones missed out here. A Jackson Five cover, say "Maybe Tomorrow," "ABC," or "I'll Be There" the way Isaac Hayes beautifully tortured "Never Can Say Goodbye" -- now that would have been something on an album too original for its own good.

Cashbox Music Reviews
"Love Me By Name" is an impeccably produced and recorded album of music. What adds to the interest is the fact Gore co-wrote all 12 of the tracks. The styles move in a number of directions. “Immortality: is probably the album’s best track. It is a smooth pop song that updates her teen sound. The single version of the song is included as a bonus track. A little longer than the album track, it was re-imagined for the mid-1970’s dance floor. “Paranoia” allows her to travel in a rock and roll direction for one of the few times in her career. It is a dark piece complete with blazing guitars. “Can’t Seem To Live Our Good Times Down” moves in a completely different direction. It is an easy-listening pop extravaganza with strings, brass, and background vocals. “Along The Way” falls into the light jazz category thanks to the harmonica play of Toots Thielmans. "Love Me By Name" is a versatile and satisfying album that deserved a better commercial fate. It is proof that Lesley Gore created good music after her teen years were past. Rating: *** =In Popular Culture=

GOMAG
When Lesley Gore passed away in February, headlines around the world read that the “It’s My Party” singer had died. That number-one smash from 1963 was what many people associated with Gore. While understandable, such an incomplete epitaph is unfortunate. She was far from a one-hit wonder, with an impressive 19 Billboard Top 100 songs from 1963-1968. And she was much more than a pop star.

As music interests changed in the late ‘60s, Gore reinvented and recharged her career. She moved to California in the ‘70s and began crafting a songwriting library. Along with lyricist Ellen Weston, Gore wrote songs much different from her old hits. Someplace Else Now (1972) was an album dealing with serious subjects, demonstrating that Gore was indeed at a different place. That album was followed in 1976 by Love Me By Name, co-written with Weston and produced by Quincy Jones. Notable tracks include the title cut, later recorded by Dusty Springfield, Patti Austin, Jennifer Holiday and others. Neither of Gore’s ‘70s albums saw commercial success, in part because they were such a stark contrast and radical departure from her teen-oriented tunes. However, they helped establish Gore as a talented songwriter. In 1980 she was nominated for an Oscar for co-writing “Out Here on My Own” from the movie Fame. Gore returned to New York in the ‘80s and began performing again, introducing new compositions that were well-received by audiences. In the late ’90s she appeared on Broadway in Smokey Joe’s Café. Gore released Ever Since in 2005, three songs from which enjoyed exposure in television and movies: “Better Angels” in CSI: Miami, “Words We Don’t Say” in The L Word and “It’s Gone” in Flannel Pajamas.

Gore’s path from teen stardom to respected songwriter also deepened her commitment to other interests. She championed women’s rights, using her 1964 hit “You Don’t Own Me” as background music for a PSA, encouraging women to get out and vote. She never deliberately hid her sexual orientation throughout the years, either. She publicly came out in 2005 when she hosted the PBS show In the Life. Another special interest for Gore was helping children. She worked with the Kids-Helping-Kids mentoring program at Health People in the South Bronx. She helped with their positive message of self-respect, a YouTube music video called ”Pull Your Pants Up”.

After Gore’s death, countless tributes from her contemporaries appeared on social media.

Lesley Gore was a singer, songwriter, activist and humanitarian—a star who will continue to shine brightly through her music and glow in the hearts of everyone whose lives she touched. And that’s a legacy that reaches far beyond “It’s My Party.”

New York Times Obituary
Ms. Gore did not write her early hits. But after she was dropped by Mercury, she worked on becoming a songwriter. She moved to California in 1970, and her 1972 album, “Someplace Else Now,” was full of songs she wrote herself or with the lyricist Ellen Weston. She reconnected with Mr. Jones for the 1975 album “Love Me by Name,” also filled with her own songs and drawing on guest performers including Herbie Hancock. But it, too, was largely ignored, as was “The Canvas Can Do Miracles,” an album of versions of 1970s pop hits released in 1982.

=Track listing=

=Personnel=
 * Gordon Anderson - Reissue Producer
 * John Bahler -	Arranger, Vocal Arrangement, Vocals
 * Tom Bahler - Arranger, Producer, Vocals
 * The Brothers Johnson - Featured Artist
 * Eddie "Bongo" Brown - Percussion
 * Chris Brunt - Engineer, Handicapping
 * Dennis Budimir - Guitar
 * Larry Carlton - Guitar
 * Peter Chaiken	- Engineer
 * Pete Christlieb - Reeds
 * Gene Cipriano - Reeds
 * Leslie Drayton - Drums (Bass), Handclapping, Horn Arrangements, Keyboards, Musical Coordinator, Trumpet, Vocals
 * Assa Drori - violin
 * Maria Fera - Celli
 * Clare Fischer - Keyboards
 * Beverly Middens - Production Coordination
 * Lesley Gore Composer, Handclapping, Primary Artist, Vocals
 * Robert Greenridge - Drums (Steel)
 * Dave Grusin - Arranger, Keyboards, Soloist
 * Herbie Hancock – Piano (track 3) Accompaniment, Keyboard Arrangements, Keyboards
 * Allan Harshen - Viola
 * Patricia Hodges - Vocal Arrangement, Vocals
 * William Hungate - Bass
 * George Johnson - Guitar
 * Louis Johnson - Bass
 * Quincy Jones Arranger, Handclapping, Keyboard Arrangements, Keyboards, Orchestration, Producer, Vocal Arrangement, Vocal Group, Vocals
 * Raymond J. Kelly - Celli
 * Jesse Kirkland - Vocals
 * Tom D. Kline - Reissue Design
 * Marvin Limonick - Violin
 * Peter Long - Production Coordination
 * Ralph MacDonald - Percussion
 * Harvey Mason, Sr. - Drums, Percussion
 * Myrna Matthews - Vocals
 * Marti McCall - Vocals
 * David McMacken - Illustrations
 * Mike Milchneu - Remastering
 * Junie Osaki - Design
 * David Paich - Keyboards
 * Karin Patterson - Vocals
 * William Peterson - Trumpet
 * Jim Pierson - Reissue Producer
 * Stanley Plummer - Violin
 * Ray Pohlman - Bass
 * Greg Poree - Guitar
 * Larry Quinn - Assistant Engineer, Handicapping
 * Warren Ray - Vocals
 * Lee Ritenour - Guitar
 * Allan Robinson - French Horn
 * Marilyn Robinson - French Horn
 * Brenda Russell - Vocals
 * Phil Schier - Engineer
 * David Schwartz - Viola
 * Tom Scott - Reeds, Sax (Tenor)
 * Norman Seeff - Photography
 * Jean Sheffield - Vocals
 * Jessica Smith - Vocals
 * Keely Smith - Vocal Arrangement
 * Bruce Sweden - Mixing Engineer
 * Tony Terran - Trumpet
 * Toots Thielemans – Harmonica (track 8)
 * Wally Traugett - Mastering
 * Matt Tunia - Reissue Assistant
 * Ian Underwood - Synthesizer Programming
 * Gerald Vinci - Violin
 * Jackie Ward - Vocals
 * Ellen Weston - Composer, Handicapping
 * Carolyn Willis - Vocals
 * Roland Young - Art Direction

=References=

Category:1966 albums Category:Lesley Gore albums

=Summary=

The cover art for "Lesley Gore Love Me By Name"

=Licensing=