If you have placed an order in the past you will already be registered with us.īefore you can bid for items, you must login. To begin with, you must register with us. Advanced features, such as automatic email notification when you haveīeen outbid, are included for your convenience. Highest bid so far and compete for items in real-time. The auction service at .uk enables you to bid for rare records on offer. At this point the system will close the auction automatically. Any additional bids will extend the auction by a furtherĢ minutes until no further bids are placed. To avoid any last minute bid sniping, and allow other bidders to respond, the system will automatically extent theĪuction end time on any last second bids by 2 minutes. If you don’t wish to pay for registered “fully insured to sign” mailing, please do not bid. Will be shipped registered mail due to rarity and because the items are irreplaceable. It is our policy that ALL items over the winning value of £40 won on the SOUL auction or ROCK‘n’POP Auction, The website will then automatically bid on your behalf up to your maximum price. Instead of bidding a new price for a record, you now enter the maximum price you want If you would like to place a bid on an item you need to use our all new The page you are currently viewing enables you to see the status So the end result is something like a Michael Bay movie - a repellant spectacle that you can’t quite look away from.Our new bidding system in now fully in place. But it’s hard not to be impressed by all the production muscle that went into the arrangement. The song is lyrically indefensible, and Christie’s Valli-esque vocal is deeply irritating. It’s full of pounding pianos and stabbing guitars and howling backing singers, and there’s a wild and borderline avant-garde bass solo in there, too. The producer, Four Seasons member Charles Callelo, used New York session musicians to chase the Phil Spector sound. But it sounds charged and cinematic, especially if you don’t give the lyrics any thought. There’s no folk or psychedelia to “Lightnin’ Strikes.” Instead, it’s a guy from the doo-wop era wailing what can only be described as a sexual-political statement in falsetto like the previous three years hadn’t happened. It must’ve sounded like a total anachronism at the time. The scheme worked out, and “Lightnin’ Strikes,” another Christie/Herbert collaboration, made it to #1 a couple of months after it came out. After being discharged, he signed with MGM Records, but the label didn’t like “Lightnin’ Strikes,” so Christie paid out of his pocket to get radio DJs to play it. Soon afterward, he was drafted into the Army. Just out of high school, Christie recorded a few singles that he’d written with Herbert, and one of them, 1963’s “Two Faces Have I,” made it to #6 in 1963. When he was 15, he met the 37-year-old classical concert pianist Twyla Herbert, and the two of them started a long and presumably pretty unconventional songwriting partnership. He wants a girl to “stick around” and stay faithful to him: “Every boy wants a girl he can trust to the very end / Baby, that’s you.” But when that falsetto hits, he’s wailing about how he can’t control himself if someone else comes along: “Nature’s taking over my one-track mind.” It’s a weirdly sinister double-standards anthem, and to this day, nobody seems entirely certain whether Christie was being serious or satirical.Ĭhristie, born Lugee Sacco in Pittsburgh, was a gifted classical musician and singer when he was a teenager. And everything he’s singing is totally untenable. But as the song builds and unfurls, he comes more and more unhinged before jumping into a wild Frankie Valli falsetto on the chorus. He sounds like an early-’60s teenybopper crooner, slick and composed. “Listen to me, baby, you gotta understand / You’re old enough to know the makings of a man.” That’s how Lou Christie opens “Lightnin’ Strikes,” his one #1 hit. In The Number Ones, I’m reviewing every single #1 single in the history of the Billboard Hot 100, starting with the chart’s beginning, in 1958, and working my way up into the present.
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