Soft pianos and even softer vocals make up the core of Lewis' only extant album. Seeing his beach volleyball player visage on the album cover while he slowly and softly croons heartfelt love songs helps to draw the listener further into Lewis' mystique. Soft, semi-heartbreaking songs like "I Thought the World of You" and "Romance for Two" make great bookends for the aural pages in between. Capped on one end by pianos and the other by guitars, one gets a nice overview (and underview?) of the album. In addition to the simple, expected elements, there's also a synthesizer slowly singing in the background. This is L'Amour in a nutshell. It's soft and mysterious, but feels very honest...despite the performer's rumored con artist life. There are jauntier numbers on L'Amour, too. "Cool Night in Paris" plays like the Country Time ads, and would make for fun porch sitting Summer music. "Let's Fall in Love Tonight" moves a bit slower than "Paris," but the heavier keys hearken to an older, drunk couple getting off their barstools and dancing without a care while the rest of the crowd stares into their drinks.

These private press finds are very fun, and Light In the Attic gives them the audience and attention they never thought they'd receive. At times, the synth and vocal on L'Amour reminds me of another LITA band, Donnie & Joe Emerson. It's great and completely unexpected to stumble upon releases like this, and we have to thank the blog community and Light In the Attic for bringing them to our attention. This album may have its blemishes, but its soft, personal sentiment shouldn't be missed.