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Customer reviews

4.2 out of 5 stars
12
Born to Be With You/Street Heart
Format: Audio CD|Change
Price:£12.43+ Free shipping with Amazon Prime


on 7 September 2016
Thanks.
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on 27 December 2014
Dion`s voice is as good as you would expect,but,in general,the musical content
is very weak,with lyrics bordering on the corny.Disappointing.
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on 24 November 2015
v good as expected
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TOP 500 REVIEWERon 2 October 2014
That Bronx-born Dion DiMucci's 'lost classic', the 1975 Phil Spector-produced album Born To Be With You, was not released in his home country is really a travesty of monumental proportions. And, despite DiMucci's own bemusement at the high esteem in which the record is now held by all and sundry, it is difficult to understand how the principal sources of the record's potential appeal - namely, Dion's uniquely heartfelt vocals coupled with Spector's intoxicating wall-of-sound production - could have apparently gone unnoticed by Warner Bros. (and most music critics at the time), so as to allow 'commercial issues' to bury the album. Of course, this background simply makes Ace Records' 2001 CD repackaging of Born To Be With You with the artist's (admittedly inferior) follow-up (and final Warner Bros.) album, 1976's Streetheart, all the more welcome for those of us who 'missed out' first time around.

That said, and in keeping with Dion's own views on Born To Be With You, there is a feeling of unfinished business here. The original album release version had only six songs (less than 30 minutes' of music) produced by Spector - although the Ace re-release also features as an addition the vibrant Spector/Jeff Barry song Baby Let's Stick Together - plus two 'outlier' songs, more in a folky vein, Your Own Back Yard and New York City Song, giving the album something of a hybrid feel. Oddly enough, these latter two songs actually provide some of the album's most serious moments - Your Own Back Yard, in particular, recalling DiMucci's own battle against heroin addiction.

But the real heart of the album is, of course, the Spector-produced songs and, despite some undoubtedly fractious moments in the production process, the results of the singer/producer collaboration, plus the multifarious Wrecking Crew (and string) support, is an irresistible fusion of soul, gospel, blues and rock n' roll of the highest standard. In fact, the album's core appeal can be (for me) pretty much summed up by the opening 90 seconds of the title song - a mesmerising progression of guitar, wall-of-sound percussion and Nino Tempo's saxophone solo. Of course, Dion's vocals are throughout the 'cherry on top' - a mix of soulful frailty and piercing emotion - particularly on standouts Make The Woman Love Me and Only You Know.

By comparison, Streetheart is a more middling affair - listenable, certainly, but paling by comparison with Born To Be With You's soulful power.
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VINE VOICEon 26 February 2008
I read great things about 'Born To Be With You' and, in truth, this is Phil Spector's triumph rather than Dion's, ironic given the large as life promotion of the singer on the cover. Dion shows what a good voice he has, but it's the updated 'wall of sound' that catches the attention. I would comment too that in all of this, the songs themselves seem to have been forgotten. The title track is an over-reverential take on an old song. Dave Edmunds also recorded this at around the same time. He was going through his Spector imitation phase, and while his brand was inferior, he made a better version because he didn't forget the power of the song as it was intended to be performed.

'Make The Woman Love Me' is a much better recording, but the remaining songs are generally propped up by the quality of the production. 'The Whole World In His Hands,' a one-line song with a few 'yeah he does' ad-libs, is a waste of Dion's talent. As for 'Streetheart,' it's a highly-polished, well-executed album, and pretty bland. This disc will not change your life.
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on 8 August 2007
Spector is best known - and rightly so - for his collaborations with early sixties girl groups, as well as with acts like Ike and Tina Turner and the Righteous Brothers. Crystals songs 'Then he kissed me' and 'Da do ron ron', and the Ronettes' 'Be my baby' are all part of the great rock lineage which continued on through to the great Springsteen albums of the 70s. But this is as good as anything Spector did back then. I recall hearing the title track about five years ago and being overwhelmed by the sheer beauty and richness of it. It remains one of my all-time favourite songs and the rest of the album doesn't fall far short of the openers' greatness, while 'Queen of 59' is a belter too. There are many albums that are categorised as 'must have' or 'critically acclaimed' - this is one of them and it justifies the hype.
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on 7 August 2009
'Born To Be With You', which Phil Spector built on a lavish scale for his idol Dion DiMucci, is the Taj Mahal of pop. When he made 'Born To Cry' aged 16, Dion's voice was like a miraculously cast bell, his singing utterly fearless like two legions of pop kicking the door in. For all its shimmering front and defiant scale, this later album is autumnally-glazed and cracked, opiated, and contorted with lust and shame but it still staggers and I still swoon.
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on 9 March 2001
Forget "STREET HEART" and just wallow in the unbelievably soulful production of Phil Spector and "BORN TO BE WITH YOU". And, of course, Dion's voice. It really hits straight to your soul like prime Scott Walker or Dennis Wilson. This is a truly timeless record: the drums sound like depth charges, just like this was The Ronettes, but Dion and the production are otherworldly. Even the version of "He's Got The Whole World In His Hand" sounds like Godlike.
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on 10 January 2007
Beloved of Pete Townshend, Jason Pierce and Bobby Gillespie, Dion's brilliant 1975 collaboration with Phil Spector still astonishes today.

The majestic title track is a fitting opening to an album in which Dion's peerless vocals are matched to perfect effect with Spector's typically inventive orchestration. That said, none of the tracks suffer in comparison.

Interestingly, Dion seems to have had over the years - at best - an ambivalent relationship with the record. As a review I read years ago observed: "Imagine if you made the best record of your career, in collaboration with one of your heroes, and it was released only abroad...What if it was one of the greatest albums ever made, but you didn't even realise it?"

Probably my favourite album of all time - well worth giving it a try if you're up for hearing a long-forgotten part of rock history.
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on 9 February 2012
why don't you own this? unbeatable class, unsurpassable style and unrepeatable excellence just buy it i can't think of a reason why you shouldn't
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