Liner Note Authors: Sam Szczepanski; Mick Patrick.
Recording information: A&R Recording (03/1964); A&R Recording, New York (03/1964); Bell Sound Studios, New York (03/1964); A&R Recording (03/30/1963); A&R Recording, New York (03/30/1963); Bell Sound Studios, New York (03/30/1963); A&R Recording (05/14/1963-03/18/1963); A&R Recording, New York (05/14/1963-03/18/1963); Bell Sound Studios, New York (05/14/1963-03/18/1963); A&R Recording (05/21/1963-05/23/1963); A&R Recording, New York (05/21/1963-05/23/1963); Bell Sound Studios, New York (05/21/1963-05/23/1963); A&R Recording (07/10/1963); A&R Recording, New York (07/10/1963); Bell Sound Studios, New York (07/10/1963); A&R Recording (09/21/1963); A&R Recording, New York (09/21/1963); Bell Sound Studios, New York (09/21/1963).
Lesley Gore's third album, like all her early LPs, did her image no favors with a title that plugged into her frivolous teenage image. As a record, though, it wasn't all that bad, though it suffered from lacking any big hits other than "That's the Way Boys Are," and was an inconsistent mix without any hidden nuggets. As usual, her attempts at straight pop ballads ("Something Wonderful") were dreary and there was some extremely lightweight filler ("Danny"). On the brighter side, "I'll Make It Up to You" and "It's Gotta Be You" weren't bad uptown pop-girl group tunes; "That's the Way the Ball Bounces," co-written by Marvin Hamlisch, was a pretty melodic, sensual ballad with nifty production touches like reverbed guitar and percussion tinkles; and "I Don't Wanna Be a Loser" (which just made the Top 40) and "Don't Call Me" were downright excellent tense and soulful numbers that gave vent to her underrated anguished and angry side. The album also included her first efforts as a composer: the mediocre, generic pop/rocker "Leave Me Alone" and the quite groovy "I'm Coolin', No Foolin'" (which she co-penned), which has some captivating minor-keyed melodic hooks. Like her second album, Lesley Gore Sings of Mixed-Up Hearts, this actually has some pretty good non-hits that few general rock listeners are aware of, some in a moodier vein than she's given credit for. And as with that second album, the best cuts are on It's My Party: The Mercury Anthology, which makes hunting for the original LP unnecessary for all but the diehards. [Ace's 2016 reissue of Boys, Boys, Boys added 13 bonus tracks to the album -- one song more than the album itself -- all of which improve the album. This is partially because these bonus tracks are her biggest hits: "It's My Party," "Judy's Turn to Cry," "Sunshine, Lollipops and Rainbows," and "You Don't Own Me," selections that help turn this period piece into a stronger listen.] ~ Richie Unterberger
