Electric Youth

Editorial Reviews

All Music Guide - Bryan Buss
Following up her enormously popular debut, Out of the Blue, Debbie Gibson sought to grow from the teen fan base she had established, while not alienating those who made her a household name. The result is slickly produced teen pop, like her debut, but it's not as squeaky clean or as compulsively likable. That is not to say it's a bad album. "Lost in Your Eyes" is a pretty ballad that showcases her songwriting skills, her clear voice, and her talent on the piano. "Electric Youth" is a bouncy, frenetic song that is ridiculously sing-alongable, but at the same it is time hard to really identify with it unless you're 12 or at least young at heart. "We Could Be Together," in ...
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Editorial Reviews

All Music Guide - Bryan Buss
Following up her enormously popular debut, Out of the Blue, Debbie Gibson sought to grow from the teen fan base she had established, while not alienating those who made her a household name. The result is slickly produced teen pop, like her debut, but it's not as squeaky clean or as compulsively likable. That is not to say it's a bad album. "Lost in Your Eyes" is a pretty ballad that showcases her songwriting skills, her clear voice, and her talent on the piano. "Electric Youth" is a bouncy, frenetic song that is ridiculously sing-alongable, but at the same it is time hard to really identify with it unless you're 12 or at least young at heart. "We Could Be Together," in which she basically tells her friends and family to go fly a kite, is practically anthemic in its joy at taking a risk on love: "I'll take this chance/I'll make this choice/I'll give up my security/for just the possibility/that we could be together/for a while." It's teen pop at its best: it makes you feel young, it makes you want to sing, it makes you want to fall in love. "Silence Speaks A Thousand Words" is a beautiful ballad about lack of communication that is vastly different from any of her other work, with a flute solo and lyrics that many adult songwriters can't nail. The same can be said for "No More Rhyme," a minor hit about a relationship's first hurdle. Gibson really exercised her writing chops on those songs, but much of the rest the album is only passable filler; "Who Loves Ya Baby?," "Helplessly in Love," and "Over the Wall" do little more than give her voice a reason to shine, while "Shades of the Past" is excruciatingly grating.
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Product Details

  • Release Date: 10/25/1990
  • Label: Atlantic Mod Afw
  • UPC: 075678193224
  • Catalog Number: 81932
  • Sales rank: 5,770

Album Credits

Performance Credits
Debbie Gibson Primary Artist, Piano, Keyboards, Vocals, Background Vocals
Deborah Gibson Indexed Contributor
Bashiri Johnson Percussion
Bud Burridge Trumpet
Matt Finders Trombone
Tim Lawless Background Vocals
Leslie Ming Percussion
Roger Rosenberg Flute
Ira Siegel Acoustic Guitar, Electric Guitar
V. Jeffrey Smith Saxophone
Sandra St. Victor Background Vocals
Tommy Williams Acoustic Guitar, Electric Guitar
Fred Zarr Piano
Libby Johnson Background Vocals
Carrie Johnson Background Vocals
Louis Appel Drums
Kirk Powers Burkhardt Bass
Keeth Stewart Background Vocals
Technical Credits
Debbie Gibson Arranger, Producer, drum programming
Phil Castellano Engineer
Bill Esses Programming, Engineer
Don Feinberg Engineer
Fred Zarr Arranger, Producer, drum programming
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