Johnny Mathis - I Only Have Eyes For You (1976/2018) [Hi-Res]

"I Only Have Eyes for You" is an album by American pop singer Johnny Mathis that was released on May 10, 1976, by Columbia Records and included two new songs, "Yellow Roses on Her Gown" and "Ooh What We Do", which was written specifically for him, as well as a contemporary arrangement of the 1934 title track that foreshadowed his recordings of standards that incorporated a disco beat ("Begin the Beguine", "Night and Day") a few years later.

The album made its first appearance on Billboard magazine's Top LP's & Tapes chart in the issue dated June 26, 1976, and remained there for 15 weeks, peaking at number 79. The following month, on July 3, it made its first appearance on the UK album chart, where it reached number 14 during a 12-week run. On December 1, 1976, the British Phonographic Industry awarded the album with Silver certification for sales of 60,000 units, and Gold certification for 100,000 units followed on April 15, 1977.

"In 1976, the Johnny Mathis/Jack Gold singer/producer team reunited after 1975's stint with producer John Florez for the When Will I See You Again album. It's right back to that familiar and successful groove on I Only Have Eyes for You, with Gene Page arranging and conducting Gold's production work. A movie theme and adult contemporary reworkings continue the song selection from the year before. Where "Mandy" led off the When Will I See You Again LP, it's "I Write the Songs" here, and though he doesn't write them, it's a nice swim through Bruce Johnston's greatest hit. Likewise, "Laughter in the Rain" graced the previous disc, while a wondrous reading of Neil Sedaka's "The Hungry Years" emerges this time around. The real nugget here, though, is a song written by Harriet Schock specifically for Mathis, a tune not on any of her own albums. "Ooh What We Do" is a special moment where Mathis is breathing life into a title untouched by his contemporaries.

Schock gave AMG some insight on how the song came to be: "It was not on any of my albums. I taught it to Johnny in the studio and he really liked it. He was reading the lyric to a friend who was in there with him. He had been an idol of mine when I was a child. 'I drink up your liquid movements like I'm dying of thirst...I could watch you stand forever, but come on over here first...how could we be so together when we're so unrehearsed....' Anyway, Jack Gold of Columbia Records produced it. He had signed me to Columbia before I went to 20th Century Fox, a little-known fact. When the payola scandal hit, a lot of artists got dropped. I was among them. I hadn't even recorded for them yet. This was about 1972...so Jack was very familiar with my work even before 'Ain't No Way to Treat a Lady.' He was a very witty, eloquent man -- Jack Gold. When people would show him songs or acts and he didn't like them, they would occasionally say, 'I'm going to have to go over your head to Clive with this,' to which he would reply, 'Over my head and around my back...the two most traveled paths in America.' I loved him. He died a few years ago. That's my little story about 'Ooh What We Do.' At the end when I have 'hari krishna, amen...,' at one point I had 'oy vey,' but they took that out."

What they didn't take out is a line "both of us slowly stalking each other for so long," which seemed so innocent in 1976. But what the song does uncover is the idea that Mathis could have gotten away with putting a few more top-flight songs on his albums in the '70s. "Ooh What We Do" is an exciting departure from the predictability of Sondheim's "Send in the Clowns," though Mathis just does everything so well, and there is safety in numbers. Billy Sherrill and Charlie Rich's "Every Time You Touch Me (I Get High)" has a dazzling arrangement, and moments like this make the covers worthwhile. Still, the artist got more coverage when he hit number one again with "Too Much, Too Little, Too Late" two years after this, 21 years after "Chances Are" first accomplished that feat. "Ooh What We Do" might've fared better had it been the title track rather than the up-tempo, almost disco version of the Flamingos' signature tune. The Las Vegas-style arrangement of the 1959 hit "I Only Have Eyes for You" survives because of Mathis' voice and style, but it is the new song he discovered here that brings magic to this collection." (Joe Viglione, AMG)