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Make It with You/Where Did They Go

4.3 out of 5 stars 3 customer reviews

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Product details

  • Audio CD (22 Feb. 2010)
  • Number of Discs: 1
  • Label: Cd Listening Bar Ieg
  • ASIN: B0015I2Q1C
  • Other Editions: Audio CD
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 388,721 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. One More Ride On the Merry-Go-Round
  2. The Long and Winding Road
  3. That's What Living's About
  4. The No-Color Time of the Day
  5. Let's Get Lost In Now
  6. Make It With You
  7. Passenger of the Rain
  8. I've Never Been So Happy In My Life
  9. You'll Remember Me
  10. Good-Bye
  11. Pieces of Dreams
  12. Didn't We
  13. You're Driving Me Crazy
  14. No More
  15. Where Did They Go?
  16. My Rock and Foundation
  17. Help Me Make It Through the Night
  18. All I Want
  19. I Don't Know How To Love Him
  20. Goodbye Again
  21. Sing
  22. I Was Born In Love With You
  23. Losing My Mind
  24. My Sweet Lord

Product Description

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Customer Reviews

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By Peter Durward Harris #1 HALL OF FAMETOP 50 REVIEWER on 13 Oct. 2010
Format: Audio CD Verified Purchase
Peggy was still in top form when she recorded these albums. The first album, Make it with you, is dominated by songs that are rarely heard, but there are covers of two famous songs among the obscurities. The title track launched the career of Bread, not just in their American homeland but internationally. Peggy does the song full justice. The other famous song is a Beatles classic, The long and winding road. Legend has it that Paul McCartney offered the song to Tom Jones but he declined, only to regret doing so after the Beatles released their own version in America, where it became their final number one hit there. Peggy's version is excellent and this song suits her ideally. Great as those covers are, the obscurities that occupy the rest of this album provide plenty of listening pleasure. Among the obscurities, I particularly like the opening track, One more ride on the merry-go-round. Sedaka and Greenfield co-wrote many pop hits, but I don't think this song was a pop hit for anybody (though Peggy`s recording was released as a single and became a hit on the American adult contemporary chart), nor do I remember hearing it before I bought this album. No matter, it gets the album off to a great start.

Following the tracks from Make it with you, there are four bonus tracks, of which three are slightly older than the two featured albums as they date from the late sixties, and all are covers, these being Didn't we (originally recorded by singer-actor Richard Harris, whose big hit was MacArthur Park), You're driving me crazy (a twenties song first recorded by Peggy in the forties, but here represented by a 1967 version) and No more (popularized by Billie Holiday). The other bonus track, Pieces of dreams, was originally scheduled for inclusion in the album Make it with you, but was dropped.
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Format: Audio CD
I've always had a very soft spot for Make it With You, which based on conversations with other Peggy fans (including a few thanked in the credits on this CD reissue), has always struck me as her Cinderella album in that even die-hard Peggy fans are lukewarm about it. I think it's been unfairly overlooked - I love her take on One More Ride on the Merry Go Round (cheesy arrangement and all) and she really nails The Long and Winding Road. Both No-Color Time of the Day and Passenger of the Rain are interesting, arty songs and Paul Anka's That's What Living's About contains a favourite lyric quote - "It's not what you do, it's how and with who." But the jewel in the crown is Let's Get Lost in Now, a bleak and world-weary love song that thrilled me on first hearing and which I'm delighted finally to have on CD, rather than a tape copied from scratchy vinyl. If I had to put together a compilation of Ultimate Peggy Lee recordings, this would be an absolute must for inclusion.

I'm less enthused about Where Did it Go, but it makes for a nice bonus. Standout track - All I Want.
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Format: Audio CD Verified Purchase
Some very interesting songs often geared to the producing Lee is in good form and the ageless voice is great with this more modern repertoire
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: HASH(0x9fd1303c) out of 5 stars 9 reviews
17 of 17 people found the following review helpful
HASH(0x9f92d528) out of 5 stars solid album from Peggy Lee with so much to enjoy 14 Jun. 2008
By Matthew G. Sherwin - Published on Amazon.com
Format: Audio CD
Make It with You/ Where Did They Go? Is yet another recently released twofer CD by the great Peggy Lee. This twofer CD has all the tracks from two of Peggy's record albums entitled Make It With You and Where Did They Go? The quality of the sound is excellent; and I really like that artwork. I always love it when the CD artwork incorporates the original record album artwork.

The CD starts off with Peggy doing a sublime cover of "Make It With You." Peggy sings this flawlessly; and the music fits in perfectly with her vocals. That electric guitar work really enhances the music, too! Peggy swings gently as she puts her own mark on this classic love song and that's grand. "The Long And Winding Road" features Peggy singing this poignant Beatles ballad with all her heart and soul; and this impresses me a lot. Peggy sings this with lots of feelings; she truly delves into the song to make it a very special number on this album and I enjoy hearing her sing "The Long And Winding Road." "The No-Color Time Of The Day" is a song I've never heard before; but when Peggy Lee sings it this tune really grew fast on me. Peggy could sing the phone book and when she was finished you'd be standing there, clapping and begging for more. Wow, what a talent Peggy Lee had.

"Passenger Of The Rain" is a very pretty melody and Peggy sings all the notes just right--the flat notes are just right and the strings are used very well. "You'll Remember Me" is another pretty melody and Peggy sings this with panache. I believe that this was a French song and this English version of this tune showcases Peggy Lee's talent beyond a shadow of a doubt. In addition, "Where Did They Go?" gets the royal treatment from Peggy who delivers this with great sensitivity; and listen for "My Sweet Lord." Peggy sings this George Harrison tune with heart and soul; and the music is really grand. The percussion helps to mark the beat and that's very good indeed.

"Help Me Make It Through The Night" is a very pretty melody that Peggy sings well; and there's also "I Don't Know How To Love Him." I think Peggy handles this so well it really does prove that Peggy could sing just about anything. "Sing" is a charming cover of this tune by Karen and Richard Carpenter; and they must have been proud when they heard Peggy do this splendid rendition of their song! In addition, Peggy does good on "Losing My Mind;" this is another cover song and Peggy swings gently to make this a sharp number with lots of soul and feeling.

"Didn't We" places Peggy Lee front and center--right where she belongs! Peggy sings this wonderfully; and the music is great. The album ends strong with Peggy lee performing "Pieces Of Dreams;" "Pieces Of Dreams" has a great arrangement and it makes a fine ending for this CD.

Peggy Lee fans will love this album; and this is also a great choice for people who enjoy classic pop vocals. Enjoy!
12 of 12 people found the following review helpful
HASH(0x9f932ae0) out of 5 stars Peggy Lee's Mastery of Pop Music Shines More Brightly Than Ever 7 July 2008
By Freeman Gunter - Published on Amazon.com
Format: Audio CD
As a life-long Peggy Lee fan, I feel compelled to add my review to the generally condescending critical commentary these albums have received. After a lifetime of listening to Peggy's recordings, from the Benny Goodman sides to her final recorded appearances and to her live work over the years, I find that these,and the other, Capitol recordings from 1969-72 are among the ones I re-visit most often. In the rock and roll years, Peggy embraced the contemporary music of that time to the (temporary) exclusion of the standards fare she had built her career upon. Peggy kept up with new developments in all types of music with an insatiable curiosity and understanding. She believed in this music and wished to keep herself moving forward, never content to merely repeat what she had always done so well. (I know this from a number of conversations I had with her on the subject.) Her from-the-ground-up knowledge of how a pop hit was built, and of the devices most effective in reaching the largest possible audience, enabled her quickly to penetrate the essence of this material and discern its secrets. Far from being the palid covers many find, I believe she reached a remarkeable synthisis of the qualities of these hits of the day (and other contemporary songs with which she personally identified). With arrangers Mike Melvoin, Benny Golson, Phil Wright, Michel Legrand and a young Randy Newman, she developed a musical atmosphere of mystery and melancholy unique in all of her recorded output, one that suits the songs and brings them to that special place where she musically could dwell within them as she does with all of her best performances. I even feel that she gives many of them a classic stature that makes them better songs than they were in their original juke box incarnations. I promise that a deep, open-minded listen to these two albums, and her other work of the period, all in print now, will reward you with some stunning insights into the towering artistry-that-conceals-and-even-denys-art of this overlooked and misunderstood area of her great body of work. I call this her "Rock 'n'Roses" period and I earnestly hope that many will come to love and enjoy it as much I and many (but not all) of my friends do. Believe me, "Is That All There Is?" is by no means all there was. Freeman Gunter
4 of 4 people found the following review helpful
HASH(0x9f9320a8) out of 5 stars Peggy Lee and Sondheim = Perfection 4 April 2009
By M. Topor - Published on Amazon.com
Format: Audio CD
Miss Peggy Lee's recording of Sondheim's "Losing My Mind" is finally out on CD. I can now die a happy man. If there were a god, Ella's live performance of "Send in the Clowns" would also magically appear.

Miss Lee's venture into the Sondheim repertoire is a sublime pop treat. I waited for this recording for years. I am most thankful to have it and the rest of the album as well.
12 of 16 people found the following review helpful
HASH(0x9f933cb4) out of 5 stars Peggy Lee Completists Will Want This 2 Jun. 2008
By Mark D. Prouse - Published on Amazon.com
Format: Audio CD Verified Purchase
As with the Then Was Then Now Is Now/Bridge Over Troubled Water release, this two-album collection with bonus tracks, from Peggy Lee's late Capitol records period, is a hit-or-miss affair. Peggy Lee could sing just about anything, but her transition leading into the 70's was uneasy. In retrospect, many of these attempts to update her sound work better now than they did back then. A case in point is Lee's surprising take on George Harrison's "My Sweet Lord," the last track on WHERE DID THEY GO. It's a brief, not half-bad pop version that gets to the point, whereas Harrison's original is overlong and becomes tedious (I.M.O.; not a Harrison favorite of mine, even if I do think ALL THINGS MUST PASS is one of the great albums of all time, and certainly the best one ever by an ex-Beatle) - ahem, back to Peggy: she may not have felt this one as deeply as its creator seemed to, but her relaxed rendition has a kind of quiet power all its own. Still, one can imagine how some eyeballs must have rolled in 1971. Speaking of Beatles personnel, "The Long and Winding Road," from LET IT BE, was a song that became a mainstream standard quickly, like "Yesterday." Too many versions of these Beatles songs were recorded to mention, and Peggy does little here to distinguish herself from the pack.

The lead album of this twofer is MAKE IT WITH YOU, and like the used LP copy I bought way back when, I wanted it just for the song "One More Ride On the Merry-Go-Round." Harkening back to her hit song, "Is That All There Is," Ms. Lee seemed to enjoy music with a carnival atmosphere, as she went in this direction several times in the late `60's and early `70's. This song is my favorite along these lines, with its oom-pah beat and swirling instrumental arrangement. This song was later recorded by Jane Olivor.

There are some really sweet, effective songs on this collection, despite the lack of direction on both albums. Particularly well chosen and beautifully sung are "The No-Color Time Of The Day," which drips with atmosphere, "Passenger Of the Rain," which Lee co-wrote, "Where Did They Go?," and "Losing My Mind," the latter from FOLLIES. Peggy's arrangement is taken at a faster pace than the show version, and it gently rocks; perhaps Liza Minnelli took her cue from this version when she did a disco cover of the song for her Results/Visible Results album. One of the nicest covers of a then-contemporary hit, is Lee's rendition of Kris Kristofferson's "Help Me Make It Through the Night." Peggy's voice is soft and intimate here, but she manages some volume on the chorus, giving the song a nice dynamic. This was a huge hit for country singer Sammi Smith, and Peggy does it justice. Of the bonus tracks, "You're Driving Me Crazy," done in the `90's by The Squirrel Nut Zippers (in an amusing and frantic way), and Jimmy Webb's "Didn't We" are welcome additions.

There is one out-and-out embarrassment on the album WHERE DID THEY GO?, "Sing." It was inexplicably covered by several artists of the day, most notably The Carpenters (not their finest moment). This song is nauseating no matter who tries to do it, and the fake children's chorus on this version doesn't help. Another groaner is "I Don't Know How To Love Him," but it's probably just my personal taste in not liking the tune, for many singers did covers of the JESUS CHRIST SUPERSTAR song back when the Broadway show was a big hit: Helen Reddy, Petula Clark, Vikki Carr, etc.

"Make It With You," the Bread hit which starts off this collection reveals a somewhat weakened voice and diminished breath control, and although Peggy Lee continued recording and performing long after these next-to-last Capitol records (she made only one more after these, included in the twofer, I'm a Woman/Norma Deloris Egstrom from Jamestown, North Dakota), she rarely matched the greatness of her Capitol and Decca years. Mirrors might be considered a notable exception, and very late in her life she made some admirable jazz recordings. The voice was gone, but her phrasing and emotional power were UNdiminished right up until the end.

Although these two albums are not among her very best, serious Peggy Lee fans may want to check them out. I'm certainly glad they were finally made available. For me, there can never be too much Peg!
2 of 2 people found the following review helpful
HASH(0x9f933e4c) out of 5 stars PENULTIMATE CAPITOL RELEASES, PRETTY PATHETIC 20 Jan. 2014
By Cody Robert at Spokane - Published on Amazon.com
Format: Audio CD
Where I am concerned, Peggy Lee automatically earns five-star ratings just for BEING Peggy Lee (a full-time job; her hairstyles are in the cover art the best things about these sorry albums). Musically speaking, these 1970-71 releases are, however, her glaringly weakest work and insult her artistry and musical intelligence. After her untimely smash comeback and reinvention in 1969 with the mock-Kurt Weill "Is that all there is?' Peggy Lee could afford to coast a bit as her second Capitol contract drew down to its autumnal close. However, the insults extend to her fiercely partisan target audience of musical connoisseurs, and we loyalists, fretful Capitol execs and Peggy herself (notoriously a picky musical perfectionist in the elite Fred Astaire mold) had every reason to be severely disappointed and ashamed. The dear woman was only 50, the voice still mostly intact and the hairstyles very beautiful, but the top-quality material had abruptly dried up and Capitol suits were under intense pressure from their EMI superiors in London to deliver product that might cross over, via osmosis or Peggy Lee's name, to moneyed teenyboppers barely old enough to drive, vote or drink. The bid to seduce a younger Woodstock Generation cadre of listeners failed entirely and the clock was ticking away ominously on the singer's 15+ years of superior artistic productivity (two to three classic keeper albums per year) in her second Capitol phase. Ironically, Miss Peggy Lee could have given in-depth masterclasses in musical hipness and artistic integrity and understatement to stoner Boomers oblivious to her classic discography, but such teachings would have gone way over their self-absorbed heads.

What is really wrong here is not Peggy Lee's fault. It's all about grossly inferior material unworthy of her mature artistry and especially about succumbing to third-rate production decisions that were made hastily, somewhat desperately and without an iota of good taste or common sense. (Metaphorically, Peggy Lee recorded her classic concept albums wearing a mink coat and was perched on a satin divan; here she's singing in torn blue jeans from a collapsing folding chair--the difference really is that acute.) MAKE IT WITH YOU is primarily covers of really insipid pop hits (these are not the exquisite treasures, carefully selected from our great national songbook, insiders customarily associate with a Lee programme), although the title track is admittedly catchy though now badly dated. And the Peggy Lee cover of "My sweet Lord" is FAIRLY hip, an isolated foray into George Harrison (and Phil Spector) territory. Lee's killer cover of Gordon Jenkins' "Good-bye" returns to more familiar torch-song repertoire (again, this sophisticated little billet-doux [cf. her 1969 reinterpretation of "Don't smoke in bed"] would have been entirely incomprehensible to Boomer buyers).

Snuff Garrett's commercial and direly bossy presence as producer overwhelms the Peggy Lee persona on the truly pathetic WHERE DID THEY GO? which should have been retitled "What were they thinking?" It is even more unashamedly commercial than MAKE IT WITH YOU and a relentless exercise in bad taste. The album is consistently vulgar (thanks, Snuff)--witness the unfortunate inclusion of Andrew Lloyd Webber--but again there are odd hidden treasures: the title cut an oompah followup to "Is that all there is?"; Lee's sole Sondheim cover, "Losing my mind" from his newly minted masterpiece FOLLIES. Sondheim belongs on a Lee album, as Lloyd Webber (what were they thinking?) clearly does not. (Although Miss Peggy did cover "Music! music! music!" way back in the Teresa Brewer era, she was younger and giddier then, the Eisenhower era hairstyles more boyish, and I really can forgive the swinging mink-jazz goddess almost anything.)

This is a pricey compilation and is for the hardest of diehard followers only. As a Lee completist I own this CD but with a sense of shame and very rarely play it because it's so wretchedly painful a Lee listen. Miss Peggy Lee would want your money spent on her less frivolous classics, including her very next effort, stylishly atoning for these mishaps, the great (and unbearably saddening) final Capitol album, 1972's NORMA DELORIS EGSTROM FROM JAMESTOWN, NORTH DAKOTA--which also has a luxe sound picture worlds removed from the trashy AM car radio sonics on these releases.
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