Reviews (4)

relaxing
dinah washington is the voice of the decade!!!!. I can go shopping in grocery store & I'll hear that voice!!!

Everyone over 25 yrs of age have heard her voice they don't know who it is.,but they know they have heard her on commercials,pop stations their mothers have albums,grandma's too...I'm a fan .

A Tornado in Heat
This CD gets better with every listen! Dinah recorded these songs just over a year before her untimely death (age 39!). Though her voice sounds rough around the edges on some selections here, it all works to her advantage because it only adds to the down-home, blues-beltin' mama that many listeners associate Dinah with. Arrangements are usually a large orchestra with occasional strings added in but it's very much Dinah's voice that takes center stage here. Dinah knew her critics were blasting her for leaving the blues world for pop a few years back, so this was her way to make peace with them. But the listeners are the ones who win out because her rich, knowing voice goes thru 15 songs here like a tornado in heat.

Editorial Review

Reviews (5)

Many sides of Carmen McRae.....
Carmen McRae has always been able to take just about any song, standards, jazz, rock, and pop, and transform them into something quite new. This is exactly what she has done on this 2-album CD.

The title song from "The Sound of Silence" is a gutsy vocal that is a huge improvement over the original hit. Her version of "McArthur Park" is tender yet rich. Her interpretation of "Stardust" is fascinating. Carmen vividly portrays despair in "Gloomy Sunday". "I'm Always Drunk In San Francisco" is jazzy with a full, gorgeous orchestra. "I Haven't Got Anything Better To Do" is one of those smooth sultry Carmen ballads. And the grand finale "Wonder Why" is an uptempo song.

The incomparable Carmen McRae has many sides. This two album CD is a fantastic trip down memory lane.

TIMELESS CARMEN MC RAE CLASSICS!!
Carmen McRae was at her absolute peak when she signed to Atlantic Records in the sixties and these two albums are magnificent examples of the art of singing at its very finest! "The Sound Of Silence" was released in 1969 and its title song is engrossing and richly sung by Carmen and equally effective is her majestic version of the classic "I Got It Bad (And That Ain't Good)". This stellar set has great vocals on every song and Carmen makes the Billie Holiday "Gloomy Sunday" a total masterpiece with a chilling and haunting vocal that is unforgettable!! "Portrait Of Carmen" was released a year earlier in 1968 and has always been one of my all time favorite vocal albums and one of Carmen's very best!! Funky and soulful is Carmen on the rowdy "I'm Always Drunk In San Francisco" while "Elusive Butterfly" is stirring and emotional. Every song is strong on this classic set with Carmen's voice rich and powerful with glorious tones that make her one of the best ever!!! Do not miss this collection if you love great singing with flawless orchestrations and arrangements-this is the greatest!! Bravo Carmen!!!!

Outstanding Material, Poor Presentation
Two of the greatest - and least known - Atlantic albums of pop standards from the late sixties, in one package. Brilliant songs throughout, extraordinary performances by McRae. Unfortunately, Collectables failed to digitally remaster the tracks on this release, and several of the recordings suffer from significant amounts of noise distortion, as well as slight crackling, hissing and popping throughout. In fact, Carmen's brilliant renditions of "Elusive Butterfly" and "Walking Happy" are virtually unlistenable.

If you're going to experience a masterpiece, why ruin it for yourself? Skip this substandard reproduction of the original, and seek out the vinyl LPs instead, until Atlantic has enough insight and foresight to buy back the rights and digitally remaster all of this material.

Reviews (18)

Long-time Streisand fan....
I have been a fan of Barbra Streisand's since 1967 when I saw "Funny Girl" on the big screen. I began collecting her records/cd's from that moment on and Simply Streisand is one of my favorites. In my opinion she has had many albums of great success. In thinking about it, I would say that "Simply Streisand" is the stand-out album of the 60's, "The Way We Were", would be my choice for the 70's, "The Broadway Album" from the 80's and Higher Ground from the 90's. "The Nearness of You" cut from "Simply Streisand" is probably my favorite on that album and possibly my favorite bar none... Anyone wanting to explore the artist in a less tradional way, take a listen to "Lazy Afternoon" or "Till I Loved You" certainly not her most successful albums but revealing and interesting.

Simply Magical
One of the most underrated Streisand albums. Barbra's singing voice is perfect on this one - note the quality of her voice on the opening bars of "My Funny Valentine" - and as always, her dramatic command of the songs stands unmatched. Equally impressive are her readings of "I'll Know", "Make the Man Love Me" and "More Than You Know". However, her Mae West impersonation on "Stout Hearted Men" is annoying :-)

Editorial Review

Features

• Limited Edition
• Original recording remastered
• Import

Asin: B000056H6L
Sales Rank: 371996
Subjects:  1. Jazz    2. Pop   

Reviews (11)

One of the 5 Greatest Albums of All Time, Period.
I was a child when this album came out and it has haunted me ever since. Turn the lights out, light a fire in the fireplace, select your favorite bottle of wine, kick the kids out, curl up on the couch with your loved one, put this album on and enjoy. Hell, this albums so good you don't need anyone. Kick everyone out. "Reverend Lee", with good reason, is the classic of this album. You'll feel Roberta's warm breath on your neck as she sings of sin and lust. It'll take you back in time to that someone whom you couldn't resist, even though you knew better. Other favorites are "Do What You Gotta Do", "Gone Away", and "Until It's Time For You To Go". Those three songs along with "Just Like A Woman" are beautiful in their meaning and the mood they create. "Business Goes On As Usual" is placed last. It's a haunting anti-war song and you'd think it wouldn't fit in with the other songs of love and regret but it does. That's because it too is about love and the lose of that loved one. My personal favorite is "Let It Be Me". Like "Impossible Dream", Roberta's voice, the tempo, what I believe is a French Horn in the background, all combine to make you realize how beautiful songs can be, even songs you've heard a hundred times, when given to a vocal talent such as Roberta Flack. After you've recharged your soul with this album, let the spouce and kids back in and give them a hug.

Brilliant and every bit as good as "First Take"
The brilliant "First Take" is a tough act to follow, so it's all the more incredible that Roberta Flack actually succeeds in capturing the same high with her performance and musicianship on "Chapter Two". I know it's easy to be cynical 'cos you truly wonder how any contemporary black artiste can offer a fresh perspective on familiar songs like "Let It Be Me", "The Impossible Dream" and "Until It's Time For You To Go" which by 1970 had become standards and are (worse) even included in the repertoire of cabaret artistes like Shirley Bassey and Andy Williams. So, you really gotta hear it to believe it. If anybody thought "First Take" was a one off or an inspired fluke shot, "Chapter Two" should prove beyond all doubt that Roberta Flack is an uncommonly gifted diva with the talent to transform just about anything from pop fodder to folk and blues standards into pure hymns of praise to which any response other than listening in rapt silence would seem less than appropriate.

Opening with concert favourite "Reverend Lee", Roberta shows the rocking soul mama side to herself we seldom see when she raises the temparature by a few degrees, breathing and panting over a cooking bass on this slow burning number to deliver a knock out performance. From there on, the tempo slows down with masterful readings of Jimmy Webb's "Do What You Gotta Do" and Bob Dylan's "Just Like A Woman", songs also recorded around the same time by Nina Simone, the other great black diva, who judged on these performances justifiably regarded Roberta as a serious rival for her fan base in the early 70s. The three familiar standards that follow - the sequence broken only by the moving lament "Gone Away" - are majestic virtuoso performances featuring some of the most heartfelt and inspired singing by Roberta ever. The musical accompaniment on "Chapter Two", like all of her early albums, is typically tasteful and restrained, never intrusive or dominating, allowing her naturally unforced and peerless phrasing and performance to carry the songs. The closing anti-war number, "Business Goes On As Usual", is another highlight. It is also quintessentially 70s, featuring a socially conscious Roberta at her most ironic.

As with "First Take" and "Quiet Fire", listening to "Chapter Two" reminds us of why we love Roberta Flack. No black artiste with self accompaniment sings so powerfully and majestically yet so naturally and freely from the heart the way she does. "Chapter Two" is in my opinion every bit a brilliant as "First Take". Like I said, you gotta hear it to believe it !

Reviews (23)

Cher was not meant to sing these songs
As much as I love cher I could not listen to most of this album. This is basicly a reissue of her early 70's album "Bittersweet White Light" (a collection of standards), and a few more added in. In my opinion I just did not think her voice is suited for these songs, or maybe it was the arrangments the I did not like. I would only recomend this to hard core fans.

Bittersweet is really sweet
Many people who reviewed this CD did not like it because they think Cher's voice isn't "suave enough" to perform this material. I disagree. These songs have just as much meaning, regardless of the voice quality of whoever sings them. I treasure this album because it was previously unavailable on CD--and if you truly appreciate Cher, you should appreciate all of her endeavours. Remember, she was still a relative newcomer to the music scene when she recorded this album. No, she doesn't quite sound like Barbra Streisand--but then, what do you expect? This is Cher. She has always operated to the beat of her own drum, and she has never asked for approval in anything she has ever done. Yet she continues to be a living legend after all these years. I somewhat resent the fact that MCA has been sitting on this record for over 25 years--and now that Cher has made a major comeback with "Believe", that's when they finally decide to bring this album out of the closet and capitalize on her current success. But I digress, if you love Cher and appreciate all aspects of her career, you will want to add this to your collection.

Features

• Original recording remastered
• Import

Reviews (2)

Another Paradise Garage Master Piece
The title says it all. New York City, 1979 and The Man Larry Levan spinning until dawn. He will always be with us through his music. "Bad for me" the title cut is one of the best club cuts of all time. If you are into the very best of club music you will love this album. This IS NOT TECHNO. Its "CLUB"!

Reviews (14)

Donna solidifies her superdiva status
with The Wanderer, Ms. Summer shed her disco image once and for all and recorded an early 80's rock album that should have begun another phase of her career, instead of being one of her last successful albums. This album is a keeper. The Wanderer hit #3 and gave a more new wave sound to he repitoire. the Pat Benatar-esque Cold Love and the more middle-of-the-road Who Do You Think You're Fooling were also top 40 hits besides the title track. The trippy Grand Illusion is one of her most underrated songs. Running For Cover reminds me of a grandiose Steinman/Meat Loaf track. Looking Up and Breakdown both show tracks of the Bad Girls Donna, but also show a new side of her. This album is a must-have along with Bad Girls and Once Upon A Time.

New label, new sound, new religion
"The Wanderer" marks Donna's switch from the Casablanca label over to David Geffen's newly founded Geffen label, and also showcases a new sound for Donna as the disco era came to its supposed close. Adding right into the mix is the fact that Donna at this time was starting to add a little more of a religious or inspirational tinge to her songwriting.

This album definitely opened the doors for the dance-rock sound of the eighties and paved the road for future dance-rockers such as Irene Cara, Laura Branigan, and maybe even Madonna. The new sound was a fusion of the disco the world was trying so hard to escape from (but others will argue never really left the scene), with a bit of rock, a dash of gospel, and just a touch of electronica. Did it work? Well just judge by the success of the hit title song and its follow up single "Cold Love".

The album, in my opinion, wasn't as successful as it should have been, but stands its ground on what it represented for the future of pop music. Take for example the synth work on "Grand Illusion", or the funk-rocker "Stop Me", these were extreme changes from the usual disco/dance formulas. Or how about the bi-rhythmical "Running For Cover" which is probably one of the album's most intense moments. Those just looking to dance should check out "Looking Up", "Nightlife" or the album's third single "Who Do You Think You're Fooling".

The album wraps up with the gospel ballad "I Believe In Jesus", a song even a sinner can appreciate as it shows off Donna in one of her most endearing performances. It also marks the end of the long term collaboration between Donna and producer Giorgio Moroder as the two would not work together again commercially for nearly ten years.

Donna Summer proves that there is life after disco.
In 1980 Donna Summer left Casablanca Records and signed with Geffen. Disco was dead and Donna Summer decided to go in a different musical direction. While she had already explored rock & electronica with the BAD GIRLS album, she fully developed those characterists with THE WANDERER, her first record for Geffen.

The album begins with "The Wanderer" a #3 hit for Donna in November 1980. It's electric synthesizors, drum machine, and the raspy vocals prove that Donna was ready for the 80's New Wave scene.
Next up is "Looking Up." An inspiration type song, but is kept pretty general so it can be interpreted many different ways. Donna sings this song in full voice rejoicing that things are really looking up. This may have been a slam to her old record label and a welcome to the new.
"Looking Up" is followed by "Breakdown" which is the most R&B song on the album but still holds its own with a New Wave feel to the R&B beats.
Next up is the futuristic "Grand Illusion." Donna's vocals take a backseat to the music production, which are brought out to the forefront. Once again, very New Wavish with stop-go beats.
The closing of side one is "Running for Cover" which sounds like it would fit perfectly in a Broadway production. It has strong, dramatic lyrics with a pulsing tempo and heavy guitars during the break.
Side two starts off with the rock-tinged "Cold Love," a #33 hit in January 1981. Donna sings in a Pat Benatar style, while the guitars are reminisent of the Pretenders. The song was also nominated for a Grammy for Best Rock Performance - Female. Not too shabby.
Following "Cold Love" is "Who Do You Think You're Foolin'." Like "Running for Cover" this song follows the formula of a broadway musical, following a character who comes to Hollywood looking to become a star. Issued as the third and final single from THE WANDERER, it peaked at #40 in April, 1981.
"Nightlife" is a throwback to "Hot Stuff." It has similar guitar stylings and are pretty much about the same thing, going to the club, looking for love.
Next is "Stop Me." An extremely fast paced number, it is clearly the most energenic song on the album.
The album's closing is "I Believe in Jesus." Alone, this song is a fantastic gospbel number, but following the urgent "Stop Me," it doesn't really fit well with the theme of the album. Non the less, it was nominated for a Grammy for best Inspirational recording.
On their own, each song is fantastic. However, as an album, some of the songs put next to each other, sound a little uneven. If I had to redo the tracklisting to make it sound more cohesive, I would organize them in this way.
1. The Wanderer
2. Stop Me
3. Breakdown
4. Cold Love
5. Nightlife
6. Grand Illusion
7. Who Do You Think You're Foolin'
8. Running for Cover
9. I Believe in Jesus
10. Looking Up

Features

• Original recording remastered

Reviews (57)

the before and after review
Madonna's self-titled debut was released in July 1983

BEFORE:
Madonna Ciccone was a NY club sensation. Moving to NYC from Bay City MI with less than $50 to her name, Madonna slowly made her way up. Before the release of this album, she had already scored one huge dance single with Everybody, and was climbing the dance chart with Burning Up at the time of release.

AFTER:
While not an overnight success (when the album peaked, it had been out 15 months), Madonna's debut proved to be "the little album that could". Lambasted by critics at first, and at first resisted by a disco-backlashed radio environment. Madonna quietly crept into the nations conscience in 1984. Borderline, Holiday and Lucky Star have all become radio standards.

Madonna's debut is one of the greatest dance records ever. Released not too long after Flashdance began to make dance music accepted again, every single track off this album was played in clubs around the world in 83/84. There is no "substance" song on this that Madonna has added as she got older and wiser, but in the terms of this album, it was amazing. Like A Virgin was the blockbuster, but "Madonna" was a stronger album in my book, and it also lasted on the Billboard album chart for FOUR YEARS.

Every song is a classic on this. Still one of her best.

Re-live Madonna
Madonna's introductory self-titled album is re-issued here with DIGITALLY REMASTERING. A far cry from the poor-quality first edition releases, this rematered CD sounds excellent. The disco-party hits on this CD sets the stage for Madonna's reinvention of dancefloor music. Energised and fun, re-live those hits like Holiday, Lucky Star, Borderline, Burning Up and Everybody. Listen to them now in full digital sound.

Another great incentive is the inclusion of original LP artwork. The full LP artwork is gloriously restored and looks like a mini-version of the LP sleeve. Even the bonus track listings are integrated into the original print and looks just like the real thing if you didnt know this was a re-issue. The only flaw is probably the transparent tray which, beneath it, contains an ugly print Warner Remasters and the 3 remastered album covers.

The much touted icing on the cake is the 2 bonus tracks included here. There are nothing more but extended versions of Burning Up and Lucky Star. The New Mix of Lucky Star is previously unavailable except on the 12", Madonna VHS and the Immaculate Collection DVD. The 12" version of Buning Up existed only on vinyl.

Overall, a worthwhile CD to buy for the sound quality and cover art.

The very first time
Madonna's self-titled debut came out on July 27, 1983. Madonna wasn't very well known then, and that's an understatement. The album entered the top 200 in early September and debuted at number #190. From there it took over a year for it to reach it's peak. It hit #8 (it's peak) only a couple of weeks before the release of her second album, Like A Virgin. From there it was YEARS before it fell off the chart. At first the album wasn't succesful much, but then Madonna constantly started to perform in clubs in the US and UK making this album very successful. In the UK this album peaked at #6. The album has 8 songs on it and 2 more tracks were added for the remastered re-release in 2001.

I. Lucky Star

A remake of the classic childrens rhyme. This song is remembered for the video which first showed the world the famous look that is remembered to this very day and began the stuff about her bellybutton, as well as starting the trend of "Madonna wannabees". The song however isn't that good. This was the 5th single off the album and hit #4 in the US and #14 in the UK 5/10

II. Borderline

A good song. It's mainly the same as the video version but she also sings some other lyrics that aren't in the video. This was the 4th single off the album and it hit #10 in the US and #56 in the UK. Borderline and Lucky Star were so successful that Madonna moved back the release date of Like A Virgin. 9/10

III. Burining Up

The best song on the whole album. It has a great beat and it never gets boring. The lyrics here also forshadowed all those controversies that were to come "I'm not the same I have no shame I'm on fire". This was the 2nd single. 10/10

IV. I Know It

Out of the 3 songs that weren't singles this is the only good one. The refrain is good in this song. 7/10

V. Holiday

A truly immortal song. Holiday is the only song that Madonna has performed on every single one of her tours and it's still played on the radio a lot. This was Madonna's 1st big hit. It was the 3rd single from the album and hit #16 in the US and #6 in the UK. The IC version is better, but this is also very good. A fun and joyful song that will live forever. 10/10

VI. Think Of Me

The worst song on the whole album. The music just doesn't attract at all. And the lyrics are bad too. You should skip this song 2/10

VII. Physical Attracion

Another bad song. The only good part here is a tiny instrumental part that appears twice in the song. 4/10

VIII. Everybody

The song that started it all. This song got the ear of Sire boss who signed Madonna in while he was in the hospital. This was Madonna's very first single. Sounds a bit dated, but still a great song. 10/10

IX. Burning Up (12"Version)

Burning Up is the best song on the album and this version males it better. There are more synths in this and it's also extended. You'll probably listen to this one a lot. 10/10

X. Lucky Star (New Mix)

This is mainly just extended with minor changes. A bit uselessm they should have put in a mix of Holiday instead. 4/10

Reviews (3)

Natalie Cole Dangerous
Natalie Cole's 1985 Album Dangerous marks her Pop-Rock Crossover and unfortunately the most Overlooked of all of her Pop-Rock albums.This is an important album,because after a career slump,she is on the verge of a Major Comeback.The songlist contains Dangerous,Billy The Kid Next Door,Secrets,Nobodys' Soldier,Opposites Actract,A Little Bit Of Heaven,Your Car(My Garage),Love Is On The Way,and The Gift. Now 10 Years after her 1975 Debut Comparisons to her father the late Nat King Cole,Aretha Franklin,Diana Ross,Chaka Khan,Ella Fitzgerald,and Nancy Wilson are finally a thing of the past.

An OK Album
Natalie Cole's "Dangerous" is truely a lost 80's gem. All the songs have a mid-80's feel to them, full of catchy synthesizers, and drum samples. There were only two minor hits from this album: "Dangerous" (#57) and "A Little Bit Of Heaven" (#81), but it is still worth while. Give it a listen, and you might enjoy this album.

Nice Album. Good Songs.
I bought this album for one song "A little bit of heaven", because I love the Soap-Opera "Santa Barbara" (in Germany "California Clan") The other songs are good and the quality of this album is also ok. I know that this album is a little bit older, but old wine is the best wine :-))

I want to say some words to the amazon.com team:

Your service is very good, very friendly and nice eMail Contact. You have found one more happy customer :-))

P.S. Please excuse my bad english. ;-)

Much Greetings

Reviews (5)

Never "givin' up" on Jennifer
This CD is worth buying simply to hear Jennifer's performance on "Givin' Up". Truly an emotional powerhouse. She's such a gifted singer, and this song really breaks my heart.

OK, but one of the BEST Jennifer LP's is STILL not on CD...
OK, this is a stunning, if uneven third album from Jennifer, with highlights being the single "Heart on the Line" and her remake of "Givin' Up" (first made famous in the mid-70s SPARKLE movie sung by long-lost diva LONETTE MCKEE!)...BUT WHY WHY WHY hasn't Geffen re-issed Jennifer's SECOND full album, "HARD TIMES FOR LOVERS" on CD since her other two are re-issed on CD? This is really tragic, since album tracks like "JUST A MATTER OF TIME" contain some of Jennifer's most relaxed, confidence, & downright SOULFUL vocal performances - PLEASE Geffen re-issed this sophomore CD for the FANS!! I have it on LP, but it's worn out & scratched by now - who can forget "Hard Times for Lovers," "No Frills Love," etc - Arthur Baker's mid-80s production really rocked the house!! -

Editorial Review

Features

• Import

Reviews (16)

"I hope you enjoy this as much as I do..."
The fourth and last complete album produced by Minogue and her cohorts, Stock and Waterman, is quite possibly her best work to date. The songs have a more sultry and often melancholy sound, which set up the template for her DeConstruction recordings. The album opens with "Word Is Out", complete with a funky hip-hop styled rhythm track and (this time around) real live horns. One particularly good track, "Too Much of a Good Thing", borrows heavily from Lisa Lisa's "Let The Beat Hit 'Em", but is, nonetheless one of the strongest tracks on the album. "Finer Feelings", in its original version here, places our perky Miss Kylie in her first bonafide adult role- "What is love without the finer feelings? It's just sex without the sexual healing..." Glad to see that she has joined the rest of her generation and discovered the joy and pain of the old bump and grind. Her duet with Keith Washington, "If You Were With Me Now", remains one of her brightest moments. It is a lush ballad full of the romantic flourishes and sweeping strings one would expect in a duet. The album closes with a pure throw-away track entitled "I Guess I Like It Like That". There's not much that can be considered original on this track as the title line is directly sampled from a late 80s club track of the same name. The rest of the music was "borrowed" from 2Unlimited's "Get Ready For This", which was signed for release by PWL International, but held for release until a couple months after Minogue's album debuted. Subsequent releases of this song prompted PWL to credit the songwriters as Stock/Waterman/Minogue/DeCoster/Wilde.

Pick this one up... it's a keeper.

This is so terrible cd
We'll i am huge fan of kylie but this album is kylie's worst.
it is so meanful. "Word is out" "give me just a little more time"
"finer feelings" and "live and learn" are great songs that can be listened any time but songs like "let's get to it" and "No world without you" are terrible songs...does kylie really sing like this. This album is hoorrible and i'm glad that it really didn't sold as musch as the first three releases!

Reviews (4)

Dance to the Music
Watley's sorely overlooked junior opus is the standout of all her '80s and '90s output. Combining the best of both of the artist's musical worlds, Affairs of the Heart supplies a handful of energetic dance numbers and a plentiful selection of quiet storm ballads. The result is a set that's much thicker and deeper than 1987's Jody Watley and 1989's Larger Than Life, while free of the lagging that occurred on 1993's Intimacy and 1995's Affection. Watley goes from etchy R&B-funk ("I Want You"), to classy house ("I'm the One You Need"), to inspirational pop ("It All Begins With You"), to 1960s Motown-inspired soul ("Stolen Moments"), all the while sounding enthusiastic and engrossed in the material.

Co-writing nine of the album's 11 cuts, she is equally impressive in her lyrical scope: The moving honesty of "Until the Last Goodbye" centers around a troubled relationship on the verge of breaking up a family, while the core message of the distinctive title track is achieving peace and humility through the power of music and listening to one's heart. Additionally, Affairs of the Heart is notable for the fact that, even with five producers on board (including Watley herself), it maintains a solid consistency in its entirety. Nearly every song on the album stands strong on its own, too, making Affairs of the Heart the singer/songwriter/producer's finest effort.

SINGLES:

I Want You
The Billboard Hot 100 #61
Hot R&B/Hip-Hop Singles & Tracks #5
Hot Dance Music/Club Play #17
Hot Dance Music/Maxi-Singles Sales #7

I'm The One You Need
The Billboard Hot 100 #19
Hot R&B/Hip-Hop Singles & Tracks #23
Hot Dance Music/Club Play #3
Hot Dance Music/Maxi-Singles Sales #4

It All Begins With You
Hot R&B/Hip-Hop Singles & Tracks #80

Definitely One of Her Best
I've always been in love with Jody's deep vocals. My favorite songs from this album include I Want You (definitely should've been in top 10 on Billboard), Affairs of the Heart (nice melody, great message), and Strange Way (the sequel to Still A Thrill - in a sense that she does the dual vocals...one deep and sensous, the other higher pitched...loved it). Definitely a worthy album.

Jody's definitely an underrated artist who deserves more props.

Reviews (7)

Tamia cant touch this
I love Tamia,but her version of ''You Put A Move on My Heart'' could never touch Mica's version.Mica made you feel what she was saying in a way Tamia never could.

SHE'S GOT SOUL
This album has everything!!!Mica has the power to deliver a strong message with her vocal talent. she makes the hairs on the back of my neck dance!!the mood of the album reflects my temprement beautifully.there isn't a bad track on this album!!!!!from the big opener 'i never knew love...' to the title track 'whisper a prayer'if you want to hear a classy soul singer who has depth and soul in her voice, then this album is for you.i never tire of listening to it..especially on a sunny day with the roof-top down. Do yourself a favour...buy this album

Reviews (7)

Dream In Color
I Dream in Color is the best song on this CD. It got little airplay on the radio but it is a great song nonetheless. I would suggest buying this CD for that song, as it doesn't appear on Regina's greatest hits CDs.

The title suggests that which THIS artist has!
For those unfamiliar with Regina Belle, outside of her duet with Peabo Bryson (featured here, in fact), this, her third release, provides a wonderful introduction. The singer shines on a disc that showcases her ability to master different styles.

The best cuts on an album of choice tunes are "Quiet Time",the tribute to motherhood "If I Could", "Dream in Color", "My Man," and the gospel-influenced "The Deeper I Love".

Belle is another talent that is not getting her due. Too many of lesser skills are dominating the charts.

And that is a shame!

Belle's "Passion" proves third time's a charm
Her debut, "All By Myself," was a potent warm-up, and "Stay With Me" was a sophomore effort of high order. But Regina Belle's third release, "Passion," showed her poised to join the ranks of Anita Baker as one of contemporary R&B's most stylish and sophisticated singers.

"Quiet Time" and "The Deeper I Love" are sharp and mature soul exercises, giving Belle an opportunity to wrap her silky voice around romantic claims amidst gently-flowing Quiet Storm grooves. "Passion" and "Tango in Paris" manage to pick up the pace and venture into the realm of pop without compromising artistic integrity, but the lush ballad "Love" and a slick cover of Billie Holiday's "My Man" prove that Regina is capable of the most mature of musical outings. Weak moments are few: the gospel-flavored "Dream in Color" features a decent vocal but still ends up sounding routine, while "One Love" is a pedestrian exercise in world-peace-themed pop.

Reviews (10)

A revelation
Wait a minute, isn't Sheena Easton the saucy Scottish pop singer who sings those sexy, melodic and, at times, goofy pop songs? So, what's she doing singing songs by the likes of the Gershwins and Irving Berlin?

It's a natural reaction that too many people had when this record was released almost six years ago. And it's also an unfair reaction, especially considering the considerable depth and passion she puts into these performances. OK, she's not Ella Fitzgerald, but then no one is. Sheena Easton is Sheena Easton and she shows enough confidence in herself here to really make the record a delight. She is especially effective on the passionate "If You Go Away (Ne Me Quitte Pas)" and the swinging "The One I Love Belongs To Somebody Else." "The Nearness Of You" emphasizes the clarity of Easton's voice and "I Will Say Goodbye" shows off her deep range. And while her fused Pop/Jazz stylings may not be enough to please the most fierce Jazz fans, it's a nice insight into the wonders that Sheena Easton's voice has to offer.

Freedom with "No Strings"...
Like most pop singers, at the start of their careers, Sheena Easton's choice of music probably had a lot of input from whoever was managing her career. Her first three albums usually featured upbeat, sometimes silly pop songs, mixed with some rather thoughtful and emotional ballads. Though she had success, with this approach, it was a probably a bit difficult to establish an identity, and solidify a fan base, singing such diverse material. Did fans of "Machinery", "Morning Train" and "Modern Girl" also appreciate "Wind Beneath My Wings", "When He Shines", "In The Winter" and "I Wouldn't Beg For Water"?

It appears that though she did try to record the type of music that was most dear to her, there came a time, beginning with "Best Kept Secret" (1983), and certainly by "A Private Heaven" (1984), that Sheena's music's focused on attaining commercial success. These albums were among the most popular in her career, and through the remainder of the 80's and early 90's, Easton struggled in her attempt to maintain commercial success, and firmly establish an identity. Her 1991 recording "What Comes Naturally", an fine album of dance tunes, failed to return her to the pop mainstream, and probably left Sheena wondering what direction her music should take.

The release in 1993 of "No Strings", was a complete change in direction. It was a return to her roots, the music that inspired her, and made her want to become a singer. Probably Sheena's most personal recording, the title "No Strings", may be a reference to having the freedom to perform the type of music she wanted to, without having someone else in control, "pulling the strings". The album is certainly a complete departure from anything she had done before, or since. Coming from the 80's pop queen, the collection of traditional jazz and blues standards, performed with a backing band, takes a while to get used to. However if you remove your mental reservations, and give the music a fair chance, you may be pleasantly surprised. In performing these classics, Ms. Easton's voice is given a chance to really stretch out, and embrace the material. Soon, you may forget that this is the same singer, who did songs like "Strut" and "For Your Eyes Only".

The tone is not sunny and bright, staying more on the neutral or bluesy side. Sheena sounds most upbeat on the songs "The One I Love Belongs to Somebody Else" and "How Deep Is the Ocean". She appears to be genuinely having fun with her singing. On other songs though, the singer is more serious, determined to "dig down" and put as much "emotional content" into the music as possible. She is perhaps most successful with a beautiful version of "If You Go Away", complete with verses in French. "The Nearness of You" and "Body and Soul", are not far behind. The medley piece "Little Girl Blue/When Sunny Gets Blue" nicely blends two tunes, with "Sunny" being especially enchanting. Another medley, "I'm In the Mood for Love/Moody's Mood 'For Love'" is a free flowing, playful number on which Sheena takes free vocal liberty. An ultra cool version of "Never Will I Marry", winds up this fine collection in an upbeat fashion.

If Sheena's roots are in this kind of music, perhaps it now becomes clear why there were so many ballads, and slow songs on those early recordings. You may have criticisms of her interpretation of these standards, but her voice is more than up to the material, and credit should be given to the artist, for having the courage to take a new musical direction. That this very personal project did not meet with great success, is probably a major disappointment to her. This collection is clearly not for every Sheena Easton fan, but if you care to see her softer, more contemplative side, and glimpse her roots, by all means consider "No Strings". It is a "fast" 46 minute play.

Editorial Review