This should make your target think that you must be a friend or acquaintance, even though he or she does not recognise you. When you approach, your target may thus already be wondering who you are. You can, if you are skilful, use this confusion to initiate a lively discussion about where you might have met before. Such conversations inevitably centre on possible shared interests or friends or habits, and invariably involve mutual disclosure of at least some personal information.
As you will learn from the 'Verbal flirting' sections of this Guide, these are essential ingredients of successful flirting. So, assuming your target finds you attractive, an eyebrow-flash with appropriate follow-up could leapfrog you into instant intimacy. Two warnings are necessary here: If your target is attracted to you, this may be more evident in facial expressions than in words.
Studies have found that women are generally better than men at reading these expressions, but that both sexes have equal difficulty in seeing through people's expressions when they are controlling their faces to hide their real feelings.
The problem is that although faces do express genuine feelings, any facial expression that occurs naturally can also be produced artificially for a social purpose. Smiles and frowns, to take the most obvious examples, can be spontaneous expressions of happiness or anger, but they can also be manufactured as deliberate signals, such as frowning to indicate doubt or displeasure, smiling to signal approval or agreement, etc.
Feelings can also be hidden under a 'social' smile, a 'stiff upper lip' or a blank, 'inscrutable' expression. Despite this potential for 'deceit', we rely more on facial expressions than on any other aspect of body language.
In conversation, we watch our companions' faces rather than their hands or feet, and rely on their facial signals to tell us what effect we are having, and how to interpret what they say. Although people are better at controlling their facial expressions than other aspects of body language, there is still some 'leakage', and the following clues will help you to detect insincerity. Let's say your target smiles at you. How do you know whether this smile is spontaneous or manufactured?
There are four ways of telling the difference. First, spontaneous smiles produce characteristic wrinkles around the eyes, which will not appear if your target is 'forcing' a smile out of politeness.
Second, 'forced' or 'social' smiles tend to be asymmetrical stronger on the left side of the face in right-handed people and on the right side of the face in left-handed people. The third clue to insincerity is in the timing of the smile: Finally, there is a clue in the duration of the smile, as a manufactured smile tends to be held for longer what is often called a 'fixed' smile and then to fade in an irregular way.
When observing your target's facial expressions, it is important to remember that although an expressive face — showing amusement, surprise, agreement etc. Women naturally tend to smile more than men, for example, and to show emotions more clearly in their facial expressions.
You are also likely to interpret expressions differently depending on who is making them. Experiments have shown that people may read the same expression as 'fear' when they see it on a female face, but as 'anger' when it appears on male face. There are also cultural and even regional differences in the amount of emotion people express with their faces.
Oriental people are more likely than Westerners to hide their emotions under a 'blank' expression or a smile, for example, and American researchers have found that in the US, Notherners smile less than people from the South.
If an attractive stranger smiles at you, it could be that he or she finds you attractive, but he or she could also be an outgoing, sociable person from a culture or region in which smiling is commonplace and not particularly meaningful. These factors must also be taken into account when considering the effect of your own facial expressions. People tend to be put off by levels of expressiveness that are considerably higher or lower than what they are used to, so it could help to try to 'match' the amount of emotion you express with your face to that of your target.
As a general rule, however, your face should be constantly informative during a flirtatious conversation. Unexpressiveness — a blank, unchanging face — will be interpreted as lack of interest when you are listening and an absence of facial emphasis when you are speaking will be disturbing and off-putting.
You need to show interest and comprehension when listening, and to promote interest and comprehension when speaking, through facial signals such as eyebrows raised to display surprise, as a question mark or for emphasis; the corners of the mouth turning up in amusement; nodding to indicate agreement; frowning in puzzlement; smiling to show approval, or to indicate that what you are saying should not be taken too seriously, and so on.
Fortunately, most of these facial signals are habitual, and do not have to be consciously manufactured, but some awareness of your facial expressions can help you to monitor their effect and make minor adjustments to put your target more at ease, for example, or hold his or her attention, or increase the level of intimacy.
Finally, remember that your target is unlikely to be scrutinising you for tiny signs of insincerity, so a 'social' smile will be infinitely more attractive than no smile at all. Touching is a powerful, subtle and complex form of communication. In social situations, the language of touch can be used to convey a surprising variety of messages. Different touches can be used to express agreement, affection, affiliation or attraction; to offer support; to emphasise a point; to call for attention or participation; to guide and direct; to greet; to congratulate; to establish or reinforce power-relations and to negotiate levels of intimacy.
Even the most fleeting touch can have a dramatic influence on our perceptions and relationships. Experiments have shown that even a light, brief touch on the arm during a brief social encounter between strangers has both immediate and lasting positive effects. Polite requests for help or directions, for example, produced much more positive results when accompanied by a light touch on the arm. When flirting, it is therefore important to remember that the language of touch, if used correctly, can help to advance the relationship, but that inappropriate use of this powerful tool could ruin your chances forever.
Although there are considerable differences between cultures in the levels of touching that are socially acceptable, and different personalities welcome different levels of touching, we can provide a few basic rules-of-thumb for first encounters with strangers of the opposite sex.
The first rule, for both sexes, is: Women are much less comfortable about being touched by an opposite-sex stranger than men, so men should take care to avoid any touches which may seem threatening or over-familiar.
Men are inclined to interpret women's friendly gestures as sexual invitations, so women should be equally careful to avoid giving misleading signals with over-familiar touches. This does not mean 'don't touch', as appropriate touching will have positive benefits, but touching should initially be restricted to universally acceptable areas and levels.
As a general rule, the arm is the safest place to touch an opposite-sex stranger. Back pats are equally non-sexual, but are often perceived as patronising or overbearing. A brief, light touch on the arm, to draw attention, express support or emphasise a point, is likely to be acceptable and to enhance your companion's positive feelings towards you.
If even this most innocuous of touches produces a negative reaction — such as pulling the arm away, increasing distance, frowning, turning away or other expressions of displeasure or anxiety — you might as well give up now. Unless your companion is exceptionally shy and reserved, negative reactions to a simple arm-touch probably indicate dislike or distrust. If your companion finds you likeable or attractive, a brief arm-touch should prompt some reciprocal increase in intimacy.
This may not be as obvious as a return of your arm-touch, but watch for other positive body-language signals, such as increased eye-contact, moving closer to you, more open posture or postural echo, more smiling, etc. Your arm-touch may even prompt an increase in verbal intimacy, so listen for any disclosure of personal information, or more personal questions.
If you see or hear signs of a positive reaction to your arm-touch, you can, after a reasonable interval, try another arm-touch, this time slightly less fleeting. If this results in a further escalation of verbal or non-verbal intimacy from your companion, you might consider moving to the next stage: Remember that a hand-touch, unless it is the conventional handshake of greeting or parting, is much more personal than an arm-touch.
By touching your companion's hand, you are opening negotiations towards a higher degree of intimacy, so keep it light and brief: A negative reaction to your hand-touch, such as the non-verbal signals of displeasure or anxiety mentioned above, does not necessarily mean that your companion dislikes you, but it is a clear indication that your attempt to advance to the next level of intimacy is either premature or unwelcome. A very positive reaction, involving a significant increase in verbal or non-verbal intimacy, can be taken as permission to try another hand-touch at an appropriate moment.
Highly positive reactions to a second hand-touch — such as a definite and unambiguous attempt to move closer to you, reciprocal arm- and hand-touching, along with significantly more personal questions, more disclosure of personal information and more expression of emotion — can be taken as permission to proceed, with caution, to a higher level of intimacy.
The next stages might involve a hand-squeeze or hand-hold, repeated twice before moving on to an arm over the shoulders, or perhaps a brief knee-touch. Males should note, however, that positive reactions to any of these touches can not be taken as permission to grope. You will have noticed that we advise performing each touch two times before progressing to the next level.
This is because repeating the same touch, perhaps with a slightly longer duration, allows you to check that reactions are still positive, that you were not mistaken in your judgement that the touch was acceptable. The repetition also tells your companion that the first touch was not accidental or unconscious, that you are consciously negotiating for an increase in intimacy.
Repeating the same touch before moving to the next level is a non-verbal way of saying "Are you sure? You may be surprised to see this heading in the 'Non-verbal flirting' section, but 'verbal' means 'words' and vocal signals such as tone of voice, pitch, volume, speed of speech, etc.
In other words, body-language may be your most important 'flirting tool', but vocal signals come a very close second. An ability to 'read' the vocal signals of the person you are flirting with will also help you to find out how he or she really feels about you. Attraction and interest, for example, are communicated much more by the tone of voice than by what is actually said. Depending on the tone, volume, speed and pitch, even a simple phrase such as "Good evening" can convey anything from "Wow, you're gorgeous" to "I find you totally uninteresting and I'm looking for an excuse to get away from you as quickly as possible".
If your target gives you a deep-toned, low pitched, slow, drawn-out "Good evening", with a slight rising intonation at the end, as though asking a question, this is probably an indication of attraction or at least interest. If you get a short, high-pitched, clipped "Good evening", or a monotone, expressionless version, your target is probably not interested in you. Once you are in conversation, remember that the intonation of even a single word can communicate an immense variety of emotions and meanings.
As an experiment, try practising variations in your intonation of the one-word response "Yeah", and you will find that you can communicate anything from enthusiastic agreement to grudging acceptance to varying degrees of scepticism to total disbelief.
If you speak in a monotone, with little variation in pitch, pace or tone of voice, you will be perceived as boring and dull, even if what you are saying is truly fascinating or exceptionally amusing. Loud volume, a booming tone and too much variation in pitch will make you seem overbearing. Speak too quietly or too slowly and you will seem submissive or even depressed.
Aim for moderation in volume and tone, with enough variation in pitch and pace to hold your companion's interest. Also remember that a rising or falling intonation, especially when accompanied by a drop in volume, is a 'turn-yielding cue', whereby speakers signal that they have finished what they are saying and are ready to listen to the other person.
When you hear these vocal signals, your companion is probably indicating that it is your turn to speak. When your companion hears these signals, he or she may well assume that you are 'yielding' the floor. If you frequently end sentences on a rising or falling intonation, with a drop in volume, and then carry on without allowing your companion to speak, he or she will become frustrated. Taking your turn when your companion has not given any vocal 'turn-yielding cues', even if he or she has finished a sentence, will be perceived as interruption, and is equally irritating.
Although your target's initial impressions of you will depend more on your appearance, body language and voice than on what you actually say, successful flirting also requires good conversation skills. The 'art' of verbal flirting is really just a matter of knowing the rules of conversation, the unwritten laws of etiquette governing talking and listening. The best and most enjoyable conversations may seem entirely spontaneous, but the people involved are still obeying rules.
The difference is that they are following the rules automatically, without consciously trying, just as skilled, experienced drivers do not have think about changing gears. But understanding how the rules of conversation work — like learning how and when to change gears — will help you to converse more fluently, and flirt more successfully. Men make up for this with superior visual-spatial abilities, but these are not much help in verbal flirting.
Men can, of course, easily learn to be as skilled in the art of conversation as women — it is only a matter of following a few simple rules — but some do not take the trouble to learn, or may be unaware of their deficiencies in this area. Those males who do take the trouble to improve their conversation skills perhaps by reading this Guide have a definite advantage in the flirting stakes. When the subject of flirting comes up, most people seem to be obsessed with the issue of 'opening lines' or 'chat-up lines'.
Men talk about lines that work and lines that have failed; women laugh about men's use of hackneyed or awkward opening lines, and all of us, whether we admit it or not, would like to find the perfect, original, creative way to strike up a conversation with someone we find attractive.
The answer, perhaps surprisingly, is that your opening line is really not very important, and all this striving for originality and wit is a wasted effort. The fact is that conversational 'openers' are rarely original, witty or elegant, and no-one expects them to be so. The best 'openers' are, quite simply, those which can easily be recognised as 'openers' — as attempts to start a conversation. The traditional British comment on the weather "Nice day, isn't it?
The fact that these comments are phrased as questions, or with a rising 'interrogative' intonation, does not mean that the speaker is unsure about the quality of the weather and requires confirmation: In Britain, it is universally understood that such weather-comments have nothing to do with the weather, and they are universally accepted as conversation-starters.
Saying "Lovely day, isn't it? A friendly response , including positive body language, means "Yes, I'll talk to you"; a monosyllabic response accompanied by body-language signalling lack of interest means "No, I don't want to talk to you", and no verbal response at all, with body language signalling annoyance or dislike, means "Shut up and go away". If you are indoors — say at a party or in a bar — and nowhere near a window, some equally innocuous general comment on your surroundings "Bit crowded, isn't it?
The words are really quite unimportant, and there is no point in striving to be witty or amusing: This formula — the impersonal interrogative comment — has evolved as the standard method of initiating conversation with strangers because it is extremely effective.
The non-personal nature of the comment makes it unthreatening and non-intrusive; the interrogative questioning tone or 'isn't it? There is a big difference between an interrogative comment such as "Terrible weather, eh? The direct question demands and requires a reply, the interrogative comment allows the other person to respond minimally, or not respond at all, if he or she does not wish to talk to you.
In some social contexts — such as those involving sports, hobbies, learning, business or other specific activities — the assumption of shared interests makes initiating conversation much easier, as your opening line can refer to some aspect of the activity in question.
In some such contexts, there may even be a ritual procedure to follow for initiating conversation with a stranger. At the races, for example, anyone can ask anyone "What's your tip for the next? Unless the context you are in provides such a convenient ritual, use the IIC Impersonal Interrogative Comment formula. This formula can be adapted to almost any situation or occasion. Just make a general, impersonal comment on some aspect of the event, activity, circumstances or surroundings, with a rising intonation or 'isn't it?
Your target will recognise this as a conversation-starter, and his or her response will tell you immediately whether or not it is welcomed.
There are of course degrees of positive and negative response to an IIC. The elements you need to listen for are length, personalising and questioning.
As a general rule, the longer the response, the better. If your target responds to your comment with a reply of the same length or longer, this is a good sign. A personalised response, i. A personalised response ending in a question or interrogative rising intonation as in "I thought it was supposed to clear up by this afternoon?
So, if you say "Nice day, isn't it? Note that there is nothing original, witty or clever about the above exchange. You may even be inclined to dismiss it as polite, boring and insignificant. In fact, a great deal of vital social information has been exchanged. The biggest mistake most people make with opening lines is to try to start a flirtation, rather than simply trying to start a conversation. If you think about your opening line as initiating a conversation, rather than starting a flirtation, use the IIC formula and pay close attention to the verbal and non-verbal response, you cannot go wrong.
Even if your target does not find you attractive and declines your invitation to talk, you will avoid causing offence and you will avoid the humiliation of a direct rejection. Once you have initiated a conversation with your chosen target, your success in making a favourable impression will depend as much on your social skills as on what you say. We have probably all met at least one person who is highly articulate, witty and amusing, but who loses friends and alienates people by hogging the conversation, not allowing others to get a word in.
You may also have come across the equally irritating strong, silent type who makes you do all the 'work' in the conversation — who never asks a question, never expresses interest and makes no effort to keep the conversation flowing.
What you have to say may be fascinating, and you may express it with great eloquence, but if you have not grasped the basic social skills involved in conversational turn-taking, you will be perceived as arrogant and unpleasant, and neither your target nor anyone else will enjoy your company.
The basic rule on how much to talk is very simple: The essence of a good conversation, and a successful flirtation, is reciprocity: Achieving this reciprocity requires an understanding of the etiquette of turn-taking, knowing when to take your turn, as well as when and how to 'yield the floor' to your partner. So, how do you know when it is your turn to speak? Pauses are not necessarily an infallible guide — one study found that the length of the average pause during speech was 0.
In other words, people clearly used signals other than pauses to indicate that they had finished speaking. In previous sections of the Guide, we have described in detail the various non-verbal signals people use to show that they have finished what they are saying, and that it is your turn to speak. These include eye-contact signals remember that people look away more when they are speaking, so when they look back at you, this often indicates that it is your turn and vocal signals such as rising or falling intonation, with a drop in volume.
This may be accompanied by verbal 'turn-yielding' signals, such as the completion of a clause or 'tailing off' into meaningless expressions such as "you know".
As a general rule, the more of these turn-yielding cues occur simultaneously, the more likely it is that your partner has finished and expects you to speak. Watching and listening for these clues will help you to avoid interrupting, and also to avoid awkward gaps and lengthy pauses in the conversation. This Guide clearly cannot tell you exactly what to say, what words to use, in a flirtatious conversation, but it is possible to provide some general guidelines on what you talk about, and how you express yourself, particularly in terms of mistakes and pitfalls to avoid.
Negativity, for example, is real turn-off. If you talk too much about the bad side of things, and constantly complain about the world or your own problems, your partner will soon get bored and fed up. Other characteristics that research has identified as particularly boring or off-putting include self-preoccupation talking too much about yourself and showing too little interest in others , banality only talking about superficial things, repeating hackneyed jokes and stories , tediousness talking too slowly, pausing too long, taking too long to make a point , passivity failing to take full part in the conversation or express opinions , lack of enthusiasm talking in a monotone, not making eye-contact, expressing too little emotion , over-seriousness using a serious tone of voice and expression, even when your partner is trying to be light-hearted or humorous and over-excitement easily sidetracked, engaging in too much meaningless chatter, too much slang.
Compliments, on the other hand, are almost universally welcomed, and do not have to be witty or original. In other words, you should not be afraid of paying simple, unflowery compliments such as "That's a nice jacket" or "That colour really suits you", as they can be very effective. Clearly, excessive use of compliments will make you seem ingratiating, and your partner may become bored with too much suffocating niceness, but of all the ways you can bore someone, studies have shown that this is the least offensive.
Males should, however, avoid paying women embarrassing or potentially offensive compliments. This is not a matter of 'political correctness', but of basic social skills. Some men need to learn that it is entirely possible to convey to a female friend or acquaintance that you find her physically attractive, without being crass or intrusive. A simple, admiring comment such as "You look lovely or pretty, or stunning " is enough.
Anything more explicit will only cause embarrassment or offence. The body-language must be right as well: Timing is equally important: It is not possible to list all these situations here, but as a rule-of-thumb, only comment on a woman's appearance a if you know her well enough this kind of compliment should not be used as an opening line, but only at a much later stage in flirtatious conversation and b at times, places and situations where appearance is relevant — i.
If the situation is not one in which you would compliment a male acquaintance on his flattering new jacket or haircut, do not comment on a female's appearance either. In one American survey, women were asked what were the three words they would most like to hear from a male partner.
The most common answer was not, as expected, "I love you", but "You've lost weight". While you should not make any comment on a woman's figure unless you know her well, this compliment might please a girlfriend or close female friend. Good listeners have distinct advantages in the flirting stakes, but being a good listener is not just about shutting up and letting the other person talk although this certainly helps.
Good listening is essentially about giving good 'feedback', which involves giving both verbal and non-verbal signals to show that you are a paying attention, and b interested. Good verbal feedback signals include the use of expressions such as "mm-hmm", "yeah", "mmm", "ah" to show interest or agreement and to encourage the other person to continue. Research has shown that these basic feedback signals are highly effective in winning friends and influencing people.
They can even result in concrete, tangible rewards: Even just a few nods can significantly improve your chances, both in interviews and in flirtatious conversation. Another effective good-listener technique is 'paraphrasing'. How did you get home? You may have noticed that the question at the end of the 'paraphrasing' example was an 'open' question, rather than a 'closed' question requiring only a yes or no response.
If you want to encourage your partner to talk, try to ask more open questions, such as "What kind of food do you like?
If you are not sure about the difference, remember that open questions begin with one of the following words: Journalists and personnel managers are taught to ask questions beginning with these words in interviews, to encourage job candidates and sources to give detailed replies, but they are equally effective in informal social conversation — particularly in flirting!
One of the most important aspects of verbal flirting is what psychologists call 'reciprocal disclosure' — the exchange of personal information. In fact, unless partners disclose at least some personal details, the conversation can hardly be called a flirtation. When you first meet, these details do not have to be particularly intimate: If your partner discloses some such detail, you should reciprocate as soon as possible by revealing some similar information about yourself, perhaps 'raising the ante' a little by making your disclosure slightly more personal.
If your partner likes you, he or she will probably try to 'match' your disclosure with one of similar value. Reciprocal disclosure of this kind is a much more subtle and less threatening route to intimacy than asking direct personal questions.
The key to successful flirtation is to escalate the level of intimacy gradually, always maintaining a balance between your disclosures and those of your partner. Avoid getting too far ahead by revealing too much, or lagging behind by revealing too little. Women should be aware that men tend to interpret disclosure of personal information as a sign of sexual availability, and be particularly careful about how much they reveal.
Humour is a powerful flirting tool. It is almost impossible to flirt successfully or enjoyably without it, and yet it can easily backfire if abused or misused. On the positive side, studies have shown that people who use humour in social encounters are perceived as more likeable, and that both trust and attraction increase when a light-hearted approach is used.
Judicious use of humour can reduce anxiety and establish a relaxed mood which helps a relationship to develop more rapidly.
On the negative side, inappropriate use of humour can kill a promising flirtation stone dead in a matter of seconds. Men are generally more likely to make this kind of fatal mistake than women. Women, however, need to be even more cautious in their use of sexual humour, as men will be inclined to interpret this as a sign of sexual availability. While it is clearly important to avoid causing offence or giving misleading signals, humour is an essential element of flirtation.
Flirting is by definition a light-hearted, playful form of interaction. A flirtatious encounter may eventually lead to a 'serious', long-term relationship, but too much seriousness in the early stages is off-putting. Even in the longer term, a capacity for light-hearted playfulness is important.
It is no accident that so many single people seeking partners through the personal ads include 'gsoh' good sense of humour in their requirements. Humour can clearly help to reduce tension and awkwardness in the early stages of a flirtatious encounter. In the section on opening lines, we advised the use of phrases which are universally recognised as 'conversation-starters', such as comments on the weather.
A touch of humour can make these openers even more effective. There is no need for elaborate attempts at wit: If your target does not find you attractive, more elaborate efforts will be no more effective. Once some degree of mutual attraction has been established, the use of humour in flirtatious conversations tends to come naturally, as both parties are motivated to keep their target amused and interested.
Our natural instinct is to try to make the other person smile. We need constant reassurance that we are liked and appreciated by the object of our attraction, and smiles and laughter provide that reassurance. One particular form of humour, playful teasing, is particularly common in flirtatious encounters. This is because playful teasing allows partners to increase the 'personal' content of the exchange, while keeping the tone light-hearted and non-serious, thus escalating the level of disclosure and intimacy in a non-threatening manner.
Men respond particularly well to this form of humour, as it closely resembles the 'mock-arguments' and good-humoured exchanges of insults which are their normal means of expressing friendship among themselves.
The most common mistakes in flirtatious use of humour involve opposite extremes. Men are more likely to over-use humour or monopolise the joke-telling, and fail to notice that their companion is bored or frustrated. Women sometimes have a tendency to under-use humour — to adopt a serious tone when their companion would be more comfortable with light-hearted banter.
There are many exceptions, of course: If you feel you may sometimes be guilty of either excessive or inadequate use of humour, watch your companion carefully for signs of boredom or embarrassment — such as feet or body turning away from you, forced smiles, reduced eye-contact, reduced verbal attention-signals, fidgeting, defensive arm-crossing, etc. If you are overdoing the humour, these would be your cues to tone it down a bit. If you are being too serious, lighten up! Your approach to leave-taking after a flirtatious conversation is of critical importance, as it will determine your future relationship with your companion.
Many flirtatious encounters are of naturally short duration — where it is understood that there are no serious intentions, merely an ego-boosting acknowledgement of mutual attraction. These light-hearted 'brief encounters' are part of normal social interaction, and only the pathetic or desperate would imagine that every passing exchange of flirtatious banter is a prelude to matrimony.
Flirting would not, however, be such a universal feature of human interaction if it did not occasionally serve some more long-term purpose — such as sex, reproduction, the survival of the species, etc. While there is no harm in practising our flirting skills just for the fun of it, there will be some occasions when we wish to pursue the relationship, and a cheery, unconcerned "Bye, then" or "Nice meeting you" will not do.
This is when parting words and gestures take on greater significance. Every salesperson knows that there is little point in establishing a great rapport with potential customers, attracting their interest, gaining their trust and so on, if you fail to 'close' — 'closing' being sales-speak for actually making the sale, securing the contract, getting the customer to hand over money or sign on the dotted line.
Sales staff are specifically trained in 'closing techniques' to help them achieve this all-important goal. In the same way, if you are genuinely attracted to your flirting partner, and want to see him or her again, none of the flirting skills in this Guide will be much use unless you can 'close' effectively.
In this case, your goal in 'closing' is to secure not a contract or a sale, but the chance to meet again. At the risk of rejection, this is the moment when you must be explicit about your wishes.
Subtle hints and positive body-language will help you to get to this point, and careful observation of your partner's reactions will tell you whether your 'closing' is likely to be successful, but these techniques cannot, by themselves, get you a phone number or a date! You have to ask. And the most effective strategy is simple honesty. You don't have to declare undying love, just ask: If making a date on the spot would be awkward or inappropriate, say something like: Some American 'dating manuals' recommend that you precede this request with a statement such as "I've really enjoyed talking with you and I'd like to see you again".
You are welcome to do this if you wish, but it would seem to be already implicit in the request for a date or phone number, and therefore somewhat superfluous. Dating manuals and articles in glossy women's magazines also constantly insist that it is perfectly acceptable nowadays for women to take the initiative in asking men out. In fact, they never fail to exclaim, men love it when women take the initiative. Seven songs were co-written with a Mr. As the story goes, "McKenzie was a black guy who turned up at one of Del's recording sessions with half a dozen songs that he had begun to write and could not finish off.
Following the completion of these tracks, Mr. Four songs charted from these two L. This is some of Del Shannon's best before his departure to the 'muffled' sounding productions of his music in the later 60's and beyond. All original recordings from the early s. Great Del Shannon CD. A lot of favorite songs. Onlly 3 good songs on the CD. This CD release puts together Del Shannon's third and fourth album.
Both albums are great, but quite different, especially soundwise. Somehow the the "Little Town Flirt" album outshines the "Handy Man" album, by having the cleanest sound. There are great many tracks on both albums, but again "Little Town Flirt" comes out as the most consistent. With the 3 great hits "Little Town Flirt", "Two Silhouettes" and "Two Kinds of Teardrops", which all have kept their charm over the years - because they are such good tunes - and I love the female harmony vocals on those three.
Other very memorable tracks on this album are Shannon's two original ballads "Happiness" and "Kelly". His cover of Roy Orbison's "Sweet Dreams" and "Hey Baby" are fine recordings - in fact, there are no real low points on the album. The sound changes on the "Handy Man", where some tracks sound somewhat muddy. The single hits on this album are the great Phil Spector sounding title track and the pretty ordinary "Mary Jane". Among the album tracks there are a couple of nice Shannon original ballads - both quite Merseybeat inspired.
There is a nice try at Roy Orbison's "Crying", which works great until the falsetto part - here it is really miles behind Orbison's original. The closing track "Twist and Shout" has a great raw guitar solo, and makes up a worthy finale om a slightly uneven album.
In spite of the relative flaws of "Handy Man" - a great release. One person found this helpful. BGO records of the U. Flirt" album presents some of his best material from his earlier hit-making days.
Of note is that many of the songs here tracks ,5,7, are the rare stereo versions and while some may say they are inferior to the single mixes, they have a sound stage and fidelity that really brings the material alive. The "Handy Man" album is the first of Del's second wind string of hits on Amy.
These tracks are all in mono. While Del's classic sound remains on this group of tracks, there is little original material of the quality of his Big Top era. Although both albums have been taken from original masters, the sound quality is better on the "Flirt" album sides the Amy stuff has always been saturated-sounding. With so many greatest hits collections available on Shannon, this piece is notable for the "Flirt" album - both for content and sound quality.
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