Still in ORIGINAL SHRINK-WRAP (opened). Vinyl plays with occasional light-crackles (play-graded). Cover looks great, a few creases near edges; no scuffing (front/back). Inner-sleeve is original (generic white); a few small tears along top edge. Spine is unbroken, clean and easy-to-read. Little shelf-wear along top/bottom-edge; some wear to right-side corners. Opening is crisp with signs of light use and divots. Red label with "Columbia" around the edge. (Not a cut-out.)
Billy Sherrill, the king of CBS country in the '70s, produced Don't Let Me Touch You in 1977, and his fondness for majestic string arrangements is a nice fit for a crooner as skilled as Marty Robbins. Sherrill helps bring out Marty's old-fashioned side, having him record a clutch of standards from the Great American Songbook – Try a Little Tenderness, Harbor Lights, and Return to Me anchor the middle of the album, with the latter reaching No. 6 on Billboard's Country Singles chart, the same position achieved by the title track -- and the whole enterprise carries the unmistakable air of an easy listening crossover. Hints of harder country are apparent – there's a stride piano and a little steel guitar, a subdued Western gait to a tempo – but this is quiet, subdued music. If anything, Robbins is responsible for the suggestions of soft rock modernity here: he wrote The Way I Loved You Best, More Than Anything I Miss You, and Tomorrow, Tomorrow, Tomorrow, each existing at the horizon line where buttoned-up tradition meets the colorful fads of today. It's enough to give Don't Let Me Touch You a slight lift out of its appealing somnolence.