PATTI AUSTIN ~ Love is Gonna Getcha

THE BEST VOICE IN MUSIC OFFERS HARMONIC DELIGHTS FOR THE EAR REVIEW

By now Patti Austin is a living legend to those in the know and this, her first album/CD on the GRP label after her time with Quiny Jones' Qwest Records, is a harmonic treat. David Pack's warm "Through the Test of Time" starts of this wonderful set and it is no surprise that the former Ambrosia member was responsible for Austin's "All Behind Us Now" and "Any Way You Can" on her self-titled Qwest album of 1984. Next up, Pack's frequent co-writer Michael MacDonald supplies "Too Soon to Know", mostly a rocker with a lil' bit of sassy R&B. There are some surprising vocal moments at the song's outro when Austin and the b.g. singers let loose! Die hard Patti Austin fans will already be familiar with the beautiful "In My Life", from the singer's own pen; a "musical makeover" of a tune originally recorded at a different tempo for Austin's first album, "End Of A Rainbow" (CTI Records). Here, the song is presented in a thoughtful, lush Grammy-worthy arrangement. It is emotional magic. "Love Is Gonna Getcha" is a fun-loving jazz-soul hybrid at which the singer excels. Austin's trademark humour comes to the fore on her own "Ooh-Whee (The Carnival)" with a decidedly fun look at the ups and downs of this thing we call LIFE.

"Believe the Children" is a soulful plea where lead and background vocals are particularly lovely.

On the delightfully moody "Wait for Me" the artist does her jazzy-soul thing with decidedly Brazilian leanings. This song creates the mood for love; is like a nice day at the beach.
"First Time Love" might be my favourite song here, though it's always hard to pick one over the other when it comes to Austin's musical treasures. Austin wrote lyrics to an old Dave Grusin (the "G" in GRP) instrumental and the result couldn't be more pretty ... an old fashioned love song with incredible orchestral contributions. When Austin sings: "It's so hard to remember/all my sad yesterdays/but from now 'til December, it's Christmas always ..." you believe her. "In My Dream" offers up a vocal menage with the best voice in music multi-tracked over a sensual bed of rhythm and melody perfect for a romantic night with that special someone. "The Girl Who Used to Be Me" is a terrific song from Marvin Hamlish and Alan & Marilyn Bergman("The Way We Were"), featured at the opening credits to the film "Shirley Valentine". Nominated for an Oscar, it is an "adult song" with a lyric that many can relate to.

I give this CD four and a half stars and recommend it to music lovers everywhere.

RAHSAAN PATTERSON ~ "RAHSAAN PATTERSON"

RAHSAAN PATTERSON - A MUSICAL BREATH OF FRESH AIR! REVIEW

Consider the recent debut releases from Eric Benet, Kenny Lattimore, and Eryka Badu and you will soon realize that R&B is returning to good quality music of the ilk that touches the heart and Soul. Add young Rahsaan Patterson to this very short list as an exciting new performer with not only a voice - but something to say. Oh, and how he articulates! This self-titled premiere recording is one of the most satisfying music releases in recent memory.

The record showcases Patterson as a vocalist with quite an impressive depth of emotion as well as technical range. While he often sounds like Stevie Wonder, at times he brings to mind traces of what a less-excited Chaka Khan might sound like after a gender switch! This is no minor accomplishment.

On the writing end, Patterson's collaborations exhibit the thoughtfulness of a disciplined artist. The fourteen selections here indicate a willingness to hone his craft, taking the time with his work, carefully going over the fruit of his labour with a fine tooth comb before exposing it. One thing for certain: Rahsaan really knows his music. This album is nothing if not diverse. One moment we hear a funky old school jam and the next, it is onward to acoustic balladry of the Tracy Chapman/Eric Clapton brand.

Tunes like the beautiful "Where You Are" can be deceptively simple upon first listen. Here, a stripped-down production approach makes room for Patterson's stunning vocal presentation. The artist is able to wrap his considerable voice over and around a pretty melody line, a difficult feat for many - one perfected by the late great jazz singer Sarah Vaughan. The skill does not stop here, though. Like Wonder at his creative best, Patterson knows how to enhance a song by adding subtle vocal flavor! s, never underestimating the role of the background vocal. On "Stop By" he comes through full force, countering Keith Crouch's bass-heavy instrumental arrangement with playful phrasing and an urgent wail that re-enforce the lyric's romantic plea. With a classic violin intro, suggesting the grand preludes of the Gershwin era, "Can We Wait A Minute" is just as tender as the title would imply. Though, finally, soft melodic tones gradually build to an intense rhythmic groove on the outro. It should come as no surprise that Patterson's biggest claim to fame thus far has been having his songs recorded by the likes of Tevin Campbell, as they share similar vocal styles. However, Patterson's take is uniquely his own.

The poignant serenade of "Spend The Night" is rather effective. The edge of the lead vocal brilliantly plays-off the lushness of Patterson's multi-tracked background voices. A less well-intentioned artist would have made this a routine "Freak Me"/ "Wild Thing" funk-jam about carnal pleasures, but he knows better.

Of the aforementioned influences, Patterson sounds most Stevie-like on "So Fine", the standout "My Sweetheart" and "Stay Awhile". Though at times the fine-line of his oral sensibilities suggest a commonality in the singing styles of Stevie and Chaka that would otherwise be overlooked by the listener.

The introspective, moody, "Tears Ago", shows Patterson's ease at singing material written by others, while "Soul Free", flows with ample assistance from Billy Preston's signature organ playing. It is hard to play favorites as the whole package is a splendid achievement. Hopefully, this album will serve as the first in a long line of great releases from Patterson.

PATTI AUSTIN ~ On The Way To Love

ON THE WAY TO BEING A LIVING LEGEND, MISS PATTI AUSTIN!!! REVIEW

(...)This recording was supposed to mark singer Patti Austin's return to godfather and musical legend Quincy Jones' Qwest Records, where she released four wonderful albums in the 1980s, but, alas, the company finally folded shortly after this album's debut. Producer Paul Brown's glossy touch is on display all over this disc, Austin's first major label release in years, but surprisingly not as refined as the artist's most recent output. That is to say, a mediocre Patti Austin record is far more superior than most so-called singer's best efforts. Whatever is wrong here, it should be stated that it is never Ms Austin at fault. Maybe Mr. Brown's clean production style is just too sharp. Who knows? This CD is still recommended as a great pop, R&B purchase, better than most crap being released today. It is an album (CD)that is as much about R&B and pop as it is about contemporary jazz.

Austin started out with a great voice when she began as a teen recording artist in the 60s. The thing is -- it has only improved with age and each new recording!

It is between "Girlfriend" and the delightfully breezy "What Can I Say?" for the #1 spot as my favorite song on this outing. The first song features a church choir bridge that turns out to be La Austin's sole voice multi-tracked to soulful perfection! "What Can I Say?" is one of the best "starting the day, stretching, singing in the bathroom mirror, having a coffee tunes" ever. Austin is sexy and soft here. Serious students of pop vocals could learn a lot from this one! Siedah Garrett's reflective mid-tempo "On the Way to Love" serves Austin's style well but could just as easily have been recorded by a contemporary Ray Charles (Mr. Ingram if you're reading this ...)Austin gets to the heart of the matter with a very soulful rendering here. "Love's Been Kind to Me Lately" would have been a great single/radio play contender. With great production values and a fine lyric, it is an almost perfect pop song. "Make It Right" could have been a Rufus funk anthem. That group's Tony Maiden plays on the tune and even Ms Chaka Khan herself must be smiling on Patti's great vocal. "If You Really Need Me Now" was my least favorite tune upon first listenings but I have to say, it does really grow on you with its friendly smooth jazz flow and James Ingram's minimalistic vocal hook. "Playin' Around" is perhaps the first song where Ms Austin sings a curse word. (She has said this is something she's always wanted to do on a record!)

"Let Me Be Me" ... Trip hop? A powerful, mid-tempo WOMENS song. Another Grammy worthy performance from Ms Patti. (When will they ever learn?!)"Southern Rain" has a great rhythm and tight vocal, lyrical hook, good message, while "Tell Me Why" is another one that is deceptively simple but grows on the listener with multiple plays. "Love's Been Kind to Me Lately [Unplugged Version]" showcases the elegant beauty of Patti Austin's voice.

For Patti fans, this recording is close to ... but not her best. New fans, this record will become a new favourite.

PATTI AUSTIN ~ Gettin' Away With Murder

PATTI DOES FUNK, PATTI SINGS SWEETLY & PATTI ROCKS! Review

Patti Austin really can sing anything . . . and this record, her third of four for QWEST RECORDS, is a pretty diverse showcase of her prowess. The minor hit "The Heat of Heat" (written and produced by Jimmy Jam & Terry Lewis, later of Janet Jackson fame) is included here, and it is lovingly performed in warm, knowing tones by Ms Austin. Michael Bolton's slick "Talkin' 'Bout My Baby" offers some retro-feeling rock and roll, featuring Billy Joel (among others) on back-up, while "Big Bad World" features the creme de la creme of R&B/soul in the 80s: Chaka Khan, Jocelyn Brown, and the crooner himself, Luther Vandross!

There are many shades of pop, funk, soul and . . . .you name it . . . but one thing is clear: IT'S ALL GOOD! Austin always delivers, and again, it is a shame that these mostly solid tunes weren't the huge hits they should have been. The funky "Only A Breath Away," and a soulful cover of "Honey For The Bees" (Alison Moyet) are testaments of the singer's ability to swing.

For a sample of an artist in complete command of her instrument, check out Austin's "If I Believed" (from Randy Goodrum's pen) or "Summer Is The Coldest Time of Year" (a Jam-Lewis opus with tasteful classical undertones).

These days there seems to be more recording artists than actual vocalists. Patti Austin is the rare gem: both.

EPIPHANY - The Best Of Chaka Khan, Volume One

"THE VOICE" SEEMS TO JUST GET BETTER AND BETTER! REVIEW

EPIPHANY - The Best Of Chaka Khan, Volume One (Warner/Reprise) Review by Kirk Douglas Provo

Just check out Chaka Khan's stellar performance of the standard "My Funny Valentine" on the "Waiting To Exhale" film soundtrack. It rings through loud and clear. Khan has claimed her rightful place at the front of the line for Queen of Soul divas in waiting! With an immensely impressive body of work to support her, Khan is perhaps the most qualified contender for Aretha Franklin's long-held moniker. (The only other serious potentials who come to mind would be vocal powerhouses such as Gladys Knight, Patti Labelle, Stephanie Mills, and a few others.)

Listening to these recordings, mostly from the 70s and 80s, it strikes one that Chaka Khan's contribution to Rhythm & Blues/Soul, as well as pop music at-large is as immense as her astonishing vocal rage. The wonderful jazz meets funk flow of "The Melody Still Lingers (Night in Tunisia)", and the tailor-made "What'cha Gonna Do For Me" are just two testaments of the unique vocal prowess she has been treating record buyers to since the early 70s.

"Never Miss The Water", the first single release of five new cuts, re-teams Chaka with producer David Gamson (Scritti Politti). It is a funky romp, recalling their "Love You All My Lifetime", from the Grammy-winning "The Woman I Am". Musician Me'Shell Ndegeocello's strategically placed raps lend some street authenticity to the tune, and maestro Frankie Knuckles' smokin' club re-mix should go over quite well with the under-thirty-five dance crowd.

Elsewhere on this collection we find, "Through The Fire", from '84's "I Feel For You". This beautiful ballad is a stunning reminder of just how sweet 'n girlish Ms Chaka can be when she puts her mind to it. (Remember "Sweet Thing"?!) On the other hand, we find Rufus' awarding-winning swan song "Ain't Nobody". This song, with its space-bound keyboard turns, hook-laden lyrics, and straight from the street vocal, is just as hip today as it was when initially released back in '83. The countless remakes of this tune of late don't hold a candle to the original funk masterpiece.

Of the new cuts, "Every Little Thing", is a playful little ditty that keeps sounding better and better with repeated playing. It jams; it swings. Some of Chaka's best scat-singing is featured here - while the bass playing is to die for! "Something Deep", is a much-welcomed, heavily bass-driven, sassy low-down groove thing from the team behind some of Brandy's most memorable early dance jams. Khan really spreads her wings here, encompassing, as only she can, straight from the heart soul diva lovelorn wailing, then sliding effortlessly upward into razor sharp jazz-scale phrasing of a class that seems to get better with each new recording.

"Everywhere", the surprising but logical re-make of a Fleetwood Mac song, is done here with a warm Caribbean treatment. Die hard rock fans may flinch at the new direction this song has taken. Yet, all-in-all, it is business as usual for Ms Chaka, as she flaunts her bountiful interpretive skills on the tune.

The compilation says it all: Chaka Khan is The Voice. Bless yourself, or a friend - hear theses recordings for yourself and experience the magic. The Queen of Soul-in-Waiting has spoken.

PATTI AUSTIN ~ The Ultimate Collection

"PATTI AUSTIN ~ Lessons In Vocalizing (Or "How To Saaaaaaang!)"

While this is a welcome look at part of the magnificent Patti Austin's recording output (specifically, her time with GRP Records in the 1990s), it is not to be mistaken for a comprehensive overview of this incredible performer's almost life-long career. Yet, the Voice is always first and foremost, with taste, diversity of style, and rare flexibility and strength, the singer's singer's "calling card".

Standouts are the never-before-released "Hold Me" (also recorded in a "throw-away" version by Tiffany), subtle, and soulful; the amazing "country-fied" duet "We Fell In Love Anyway" (with Cleve Francis); and rare live versions: "The Heat of Heat" (Jam & Lewis funk), "The Girl Who Used To Be Me" (from the film "Shirley Valentine"); and the rare, hard to find cuts like "You Who Brought Me Love" (with Johnny Mathis), "I'll Keep Your Dreams Alive" (with George Benson), and the funkiest version of "Soldier Boy" ever put to record (very 80s Soul II Soul production approach)!

However, as album's go - everything is fine here! Including the stunning R&B of "Reach" (though the edited remix here is inferior to the album version on "That Secret Place"), the pop-soul of the perfect "Through The Test of Time", the feel-good "Love Is Gonna Getcha", the jazz-scat smoothness of "Ability To Swing", and composer/producer Rod Temperton ("Baby, Come To Me", "Rock With You", "Thriller")'s much over-looked funk opus "Givin' In To Love".

Patti Austin's talent shines as always.

PATRICE RUSHEN ~ Now

Patrice Rushen ~ NOW (Or Any Other Time)!

This delightful funk/soul/pop recording opens up with the infectious "Feels So Real (Won't Let Go)" which was somewhat of a hit for Ms Rushen, or Baby Fingers as she will be forever known to diehard fans. Though it came after her dance smash (the often-covered/sampled) "Forget Me Nots", it was a testament that the artist was not "going anywhere" but forward. Known chiefly for her exceptional keyboarding skills (and these days a Musical Director of choice for television extravaganzas), Rushen is also a gifted vocalist with a unique breathy quality that stays pretty while not submitting to Madonna-like vapidness. There is art in her deceptively simple singing, superbly showcased on this collection of songs.

The groove that starts off "To Each His Own" reminds one of a Hall & Oats groove, but soon gives way to a great message: "...understanding is the real thing ..." Who says you cannot think while dancing?! I am STILL humming this one's chorous ...!

"My Love's Not Going Anywhere" is a sweeping mid-tempo adult "lullaby" about enduring love, while "Heartache Heartbreak" is a thoughtful piece on the downside of falling in love. This one is easy to relate to and consummately crafted. The honey-sweet melody is a keeper.

"Get Off (You Fascinate Me)" is a magnificently funky up-tempo number ... so very very funky!

"Superstar" is a tune about the kind of person now commonly known as a "Diva". The classical piano that pops up in the middle of the long workout of a song is simply incredible. Expert demonstration in the art of mixing. For a minute it is like two songs going on concurrently.

"High in Me" is heavenly, setting the mood for love.

Also noteworthy are the jams "Gotta Find It" and "Perfect Love" .

Bottom line: one of my favorite R&B albums.

PATTI AUSTIN ~ Street Of Dreams

STREET OF DREAMS . . .PATTI AUSTIN EMBRACES OLD & NEW WITH CLASS (As Always)!!!

Trademark diversity in place, Patti Austin, vocalist extraordinaire starts set off with a generous re-thinking of the otherwise bland "The Look of Love". (Bacharach and David never had it soooo good!) She even helps breathe some life into the old standard "Street of Dreams", the title cut, but when "A Candle" (new song) takes off it is clear that we have yet another Patti Austin treat for the old mixed tape or CD burn. When Austin starts off singing: "...There's a sadness here inside my heart ..." we know it's "gonna be special". Singer, words, melody, and production are well-matched on this tune . . . music so so good . . . !

Her lovely serenading on "Someone To Watch Over Me" makes the listener sort'a long for an entire Austin-Gershwin recording, so sweet the marriage of melody, lyric, and voice.

Leave it to Austin to remind us so stylishly why "I Only Have Eyes For You" is a standard. Members of Colour Me Badd lend harmonies! Incredibly ROMANTIC; lush.

"For Once in My Life" takes on a new face with an uptempo, funky arrangment that soars into a scat menage sweeter than any so-called "jazz vocals" I've heard so far this year!

When Patti sings the much-recorded "Calling You", walls come down, curtains pull back, a new layer revealed . . . the desperation of the lyric becomes a siren song to lost loves.

Could "Waiting For You" be the singer's most subtly poignant vocals ever? "Beautiful" seems even an understatement when describing the wonders at work on this gem, and don't be fooled by the laid-back approach on Boz Scaggs' "Look What You've Done To Me". Several listens later you'll be getting something new from the song - just like this great Patti Austin album, which respects the old by blessing it ... anew!

SARAH VAUGHAN ~ "SEND IN THE CLOWNS"

DON'T SEND IN THE CLOWNS QUITE YET - SASSY SARAH PROVES WHY SHE WAS THE DIVINE ONE!, June 9, 2006

Jazz "purists" will not be particularly fond of this album, though true followers of The Divine One will find it interesting, if nothing more to hear her voice in these contemporary settings. Like her "Songs of the Beatles" record, Sarah is decidedly more pop on these numbers and, yes, even verging on disco(!) on a few numbers. Her voice as an interpretive instrument is in full force though, even when then selections are questionable or lacking in integrity. She goes through the title song, winningly, as she has many many times before. This version, though is a little on the short side. "Love Don't Live Here Anymore" is a pleasant but sad tale of a relationship gone wrong. Sassy conveys the drama knowingly . . .

"That'll Be Johnny" is delightfully rhythmic and Vaughan does not lose it, though the tune is a bit different from alot that she has done through the years. "Right In The Next Room" and "I Need You More (Than Ever Now)" are mid-tempo fare that have a bit of the dancefloor in them, while "On Thinking It Over" is quietly pretty, moving . . .

"Do Away With April" is clever, poking fun at all those old songs about the month where so many fall in love, at least according to the poets of the day. Most interesting is the fact that Vaughan had sung many of the April songs herself! "Frasier (The Sensuous Lion)" is a novelty song, if ever Vaughan has sung one. Yes, it is a song about a lion(!!!) and the singer's sense of humour and unique gift for timing is in full display throughout. One just wonders, though, why was Vaughan given this song to sing in this context? It would have been more at home at say, "Circus of the Stars".

Sarah could sing anything for sure, and here she does. At best this album will make you smile.

PATTI AUSTIN ~ In & Out Of Love

THIS ALBUM HAS SOMETHING FOR EVERYONE. THE BEST OF R&B/POP!!!

Much has been written about vocalists and worth of material recorded throughout a career . . .

It is this writer's opinion that everything is subjective and all is open to criticism - yet a gift is a gift, a voice is a voice, a talent is a talent . . . .to be used as the artist wishes to use it. Having said that, Patti Austin has always been a special artist with wide-ranging talents and taste in music. Because of her diversity often she has been ignored or misunderstood, as the record business is keen on categorizing music and performer. Austin sings everything equally well, from "jazz" to "country" to "soul" to "pop". She is the the true meaning of vocalist and any and every recording she has ever made is worth the cost of purchase. "In & Out Of Love" is no exception to the Austin legacy. Though on the Concord/Vista label, this record should not be deemed a jazz recording. It is, in fact one of Austin's most funky, soulful outings since her days on Quincy Jones' Qwest Records in the 80s. Each and every track here has something to offer - proving again that Austin does sing everything well, with a unique understanding about the heart of each genre.

The title song is the opener of the set and it almost says "I'm Baack!" to diehard fans, as she easily flows through a jeep-heavy R&B mid-tempo. The ballads, especially "I'll Never Get Over You" and "Once in A Lifetime" are heavenly, and the funk of "Totally Unacceptable", the spirited R&B of "Doe Si Do In" are splendid showcases for this vocalists' vocalist.

"If We're Not In Love" is a gem as is the dance/club track "Why You Wanna Be Like That"! Also, worth mentioning is the splendid "I Offer You Love" (a soulful duet with strong session vocalist Tony Lindsay), the up-tempo re-make of "Summer Breeze" and the gospel-tinged "I Will Be There".

Austin's ever-glowing star shines throughout this entire CD, but it is most clear with her Grammy-worthy delivery on the updated 1950s "Maybe" that there is something just not right with a music industry that still refuses to give the mega-talented singer her propers!

This is a CD worthy of repeated plays, indefinitely ...

VESTA ~ Everything N' More

VESTA IS ALL THAT . . .!!!

Aretha Franklin may be the Queen of Soul, but Chaka Khan's vast body of work, and numerous protege and imitators would indicate her influence in pop music is not something to be over-looked. Vesta Williams is one of several former back-up singers to Ms Chaka who have gone on to solo careers of their own (others Sandra St. Victor, Penny Ford, and Meli'sa Morgan). Vesta (who dropped the sur name few albums ago) has the pipes and energy to bring any recording session to a halt and the album "Everything N' More" is a great showcase for her particular brand of emotive singing. On the funky side, we have what is perhaps the best re-make of the Gap Band's "Outstanding" smash ever on record - thanks to Chuckii Booker's arranging talents. Also, "So Good" is one of those long long funk jams that makes you want to get dressed-up and go out dancing!

On the slower side the best tunes would be Vesta's collaborations with Brian McKnight (a musical marriage made in soul heaven) "Over & Over" and "Can't Let Go", the latter makes you want to reach out to the singer and offer a hanky and a few words of wisdom to just move on and forget about the pain of the past . .. But she sings the misery so well. Vesta even flaunts her jazz-singing chops on at least two tracks, the soft, plea of "Tell Me" and the introspective mid-tempo "In Your Mind", where the scatting is old school and the instrumental surroundings contemporary nods to the past.

This album should be in your collection if fine versatile soulful vocals are what you really like to listen to.

Get this!

CHAKA KHAN, "The Woman I Am" (Warner Bros.) Review

MS CHAKA IS "THE VOICE" ( IF YOU ENJOY REAL VOCALIZING!)

Chaka Khan is unique among singers. A highly expressive artist possessing vast vocal resources, she can come across as wild R&B diva one moment, then effortlessly transforms herself into a purring jazz chanteuse the next. For the impassioned listener, enjoying a Chaka Khan recording often involves moments of careless abandon, along with joyful burst of elation. The casual, new listener may feel lost in a world of soulful wailing and jazz-scale phrasing more commonly found in vintage recordings by the likes of greats Bessie Smith and Sarah Vaughan.

Following a four year break between albums, Khan returns here in high form. Right from the Stevie Wonder-like churning funk drive of lead-off track "Everything Changes" over to the hip hop-jazz/soul sensibilities of "Give Me All", it's clear. The singer is not only back on the scene, but for the first time in the nearly ten years of an often erratic solo career with Warner Brothers Records, the artist is in control. For, regardless of the fact that "The Woman I Am" employs the services of a multitude of producers, writers, and co-writers alike, this album has an overall feeling of jointness and focus which has been lacking in Khan's otherwise engaging, yet over-looked output of recent years. As the title indicates, the former lead-singer of the innovative Rufus has firmly put her foot down. In a recording career spanning nearly twenty years, the artist has undertaken a more active behind-the-scenes role in the music she makes. Acting as Executive In Charge Of Production on this project, Khan has re-emerged as a songwriter too, and with quite the impressive offerings. "Telephone" is a reggae/funk fusion that could not be more tailor-made for Khan's unique brand of stylish singing. "Keep Givin' Me Lovin'" matches fun-loving, old-school Chaka-isms with quasi New-Jill rhythm tracks while "Facts Of Love", with its up to the minute production values is a good articulation of the varied stages of a romantic affair, offering shades of Rufus (Hawk Wolinski-like keyboard turns are prevalent)! "The Woman I Am" - All star writers/good message tune (Brenda Russell, actress/artist Dyan Cannon, with Chaka)! Chaka's growth as writer is evident. This song exudes confidence on many levels.

On the not-written-with-Chaka end we find tasteful choices in "Love You All My Lifetime", the album's first, chart-climbing single - a reunion with David Gamson of Scritti Polliti whom worked with Khan on 85's "Destiny" project. Very funky; immensely catchy chorus. Poignant, bittersweet renderings of verses. First-rate Chaka wailing announce that That Voice is not only still there but in GREAT shape! "I Want" - Chaka thrown to "recycled" call and response soul-funk groove. She, of course, tears it up! Lovely layering of her vocals. Exhibits fully-developed harmonising skills throughout. "You Can Make The Story Right" - Written and produced by the late Wayne Braithwaite, enough cannot be said about this bouncy mid-tempo track that is one of Chaka's best attempts at being current, yet herself. Smooth delivery. Very good song. Superb vocal choices by Chaka. "This Time" - another reunion here. Written in-part by David Lasley ("Roll Me Through The Rushes", from Chaka, her first solo outing). Pop ballad-Chaka ("Through The Fire", "Got To Be There") strikes again! Warm, caressing vocal; mature, full-bodied ... beautiful. "Don't Look At Me That Way" - What can you say ...?!! Penned by the almost-legendary-by-now Diane Warren. A ballad slightly a bit more on the pop side of things, with a great Chaka pop-ish vocal with splendid melody, tight bridge, infectious chorus typical of most Diane Warren compositions. As with "This Time", very radio friendly. Over all, "The Woman I Am" as an album is a captivating testimony of everything a good pop record should be - diverse, yet cohesive. A satisfying discovery in the other-wise bland music business of late. A tour de force that is at once a feel good romp and a reflective chronicle of someone coming to terms with all that they are and can aspire to be. Perhaps the finest display of all the woman that is Chaka since '82's "Chaka Khan" LP. The word on the street is true, Chaka Khan is back - and she is still very much Everywoman!!!

The Young & The Restless ~ The New & The Improved

It is amazing how quickly this top-rated daytime drama has improved after several missteps a year or so ago. Headwriter Maria Arena Bell, who had been widely criticized upon her first months of aired scripts, now seems a great partner with legendary executive producer Paul Rauch, who has joined her recently as co-executive producer. Rauch is best known for his genre-busting creative vision - particularly as it relates to the now defunct NBC soap opera, Another World. There he brought a respected sense of stage to afternoon television by hiring New York theatre actors for prominent roles. But that is not all of the magic he does. Let's see: hiring acclaimed author Harding Lemay ("Eight Years in Another World") and keeping him for a long, adventure-filled stint as chief scribe resulted in some of the best dramatic television at the time. Also, the stunning sets on Another World (and then on one of its spin-off shows, Texas) played a big part in the overall "look and feel" makeover in serialized drama. By not trying to fix what was not already broken, MAB & Mr. Rauch have successfully concentrated on both returning The Young & The Restless to the class act show of its glory days. The vision of late co-creator and long-time headwriter Bill Bell seems to be one shared by Rauch and the new Bell in charge of story. Not to say that all story and character blunders of past headwriters and execs have been instantly repaired, but daily story telling is, like life - a work-in-progress, and happy days do seem to be here again.