Post by Shellshock on Aug 22, 2004 23:23:36 GMT 1
I thought it would be fun to look at some La Toya album reviews from non-fans.
Heart Don't Lie
Despite a very mild public response to her first two albums, Jackson showed no signs of giving up, moving to Private I and recording this album of youthful, highly danceable material. Whereas most of the instrumentation on the earlier albums was live and authentic, drum programming and overdubs entered the picture in a big way here -- but not to the total exclusion of the real thing. The title track, which became the most successful entry, is the most gimmicky. Even with cameos from Howard Hewett and Musical Youth, it's a bit too produced to offer any real substance. More believable and alluring are the sprightly, soulful "Bet'cha Gonna Need My Lovin'" and "Think Twice," the latter featuring a surprisingly colorful trumpet solo. Amir Bayyan's production gets a bit repetitive on occasion, resulting in a few sound-alike tunes, and Jackson's presence isn't as distinguishable as on previous output. But a handful of guilty pleasures here that are, if not much else, very catchy, making this a wise investment for anyone curious about the music of the Jackson family "outcast".
Bad Girl
Latoya Jackson gets no respect -- you can purchase this CD for less than $5 at most online shops, and it's not exactly a dinosaur. Many say she's the least talented Jackson sibling, but how can you say that Tito, Jackie, or Marlon is better? This isn't a bad CD; Latoya's problem is that she's in the wrong era. Latoya's voice would have fared better in the late '70s, when disco divas were anointed weekly. Her light, wispy voice is comparable to, but not as good as, Sylvia Robinson's ("Pillow Talk") sexy whisper. The songs, more than Latoya's voice, are the main culprit here; even Whitney or Chaka couldn't have done much with this batch. The most engaging tracks are "Playboy" (not the Marvelettes song), "You and Me," "You Keep My Restless Heart," and "Bad Girl."
No Relations
Even with all the publicity her controversial 1991 autobiography generated, Jackson was unable to find commercial success with her recordings of the same time. This set, one of many she recorded for relatively unknown, independent European labels, attempted to hit directly on that note: the album's title signifying her estrangement from the rest of the Jackson family. A far cry from that concept, the content is concentrated in light lyrics and melodies typical of the singer's catalog. One-night stands with the potential for something deeper are the concern of "Sexbox" and "Could This Be Love We're Making," while dancing and fun are the pivot points of "Reggae Nights" and "Let's Rock the House." But Jackson does make an apparent allusion to her rebellious streak on "Wild Side." The song is a nifty, pop-funk mid-tempo number that benefits from understated melodies atop a percussive, frugally produced dance track. It's precisely this vein that serves the limited vocalist well on further cuts such as the mellow houser "To Prove My Love" and the catchy, pop-club outing "Could This Be Love We’re Making." Not overly ambitious in scale, the songs here are spacious enough to complement the artist's thin delivery -- and simultaneously, the production is fun and doesn’t overpower her. Offering a healthy dose of danceable, memorable ditties, No Relations certainly doesn't match the vigor of 1981's My Special Love, but it is Jackson's most consistently enjoyable, full-length effort from the '90s
Stop! In The Name Of Love
This rather sub-standard collection (also released under the title The Dance Collection) finds Jackson trying her hand at a number of '60s Motown classics, among them The Supremes' "Stop in the Name of Love," Mary Wells' "Two Lovers," Smokey Robinson and the Miracles' "Tracks of My Tears," and her brothers of the Jackson 5's "I'll Be There." In a few instances, Peter Holm's production is crafty, as on the remix version of the title track, a nice intersection of club rhythms and radio-friendly pop elements. But for the most part, the formula is, well, quite formulaic and redundant. It doesn't help that Jackson's singing is of virtually no weight here and lacks any character or warmth. Unlike several of her earlier efforts, which were musically and vocally inciting even if not of the highest caliber, the output here is purely programmed and lacking in any spontaneity. With only a couple of slight exceptions to this rule, Stop in the Name of Love is only recommended for diehard La Toya Jackson completists
Heart Don't Lie
Despite a very mild public response to her first two albums, Jackson showed no signs of giving up, moving to Private I and recording this album of youthful, highly danceable material. Whereas most of the instrumentation on the earlier albums was live and authentic, drum programming and overdubs entered the picture in a big way here -- but not to the total exclusion of the real thing. The title track, which became the most successful entry, is the most gimmicky. Even with cameos from Howard Hewett and Musical Youth, it's a bit too produced to offer any real substance. More believable and alluring are the sprightly, soulful "Bet'cha Gonna Need My Lovin'" and "Think Twice," the latter featuring a surprisingly colorful trumpet solo. Amir Bayyan's production gets a bit repetitive on occasion, resulting in a few sound-alike tunes, and Jackson's presence isn't as distinguishable as on previous output. But a handful of guilty pleasures here that are, if not much else, very catchy, making this a wise investment for anyone curious about the music of the Jackson family "outcast".
Bad Girl
Latoya Jackson gets no respect -- you can purchase this CD for less than $5 at most online shops, and it's not exactly a dinosaur. Many say she's the least talented Jackson sibling, but how can you say that Tito, Jackie, or Marlon is better? This isn't a bad CD; Latoya's problem is that she's in the wrong era. Latoya's voice would have fared better in the late '70s, when disco divas were anointed weekly. Her light, wispy voice is comparable to, but not as good as, Sylvia Robinson's ("Pillow Talk") sexy whisper. The songs, more than Latoya's voice, are the main culprit here; even Whitney or Chaka couldn't have done much with this batch. The most engaging tracks are "Playboy" (not the Marvelettes song), "You and Me," "You Keep My Restless Heart," and "Bad Girl."
No Relations
Even with all the publicity her controversial 1991 autobiography generated, Jackson was unable to find commercial success with her recordings of the same time. This set, one of many she recorded for relatively unknown, independent European labels, attempted to hit directly on that note: the album's title signifying her estrangement from the rest of the Jackson family. A far cry from that concept, the content is concentrated in light lyrics and melodies typical of the singer's catalog. One-night stands with the potential for something deeper are the concern of "Sexbox" and "Could This Be Love We're Making," while dancing and fun are the pivot points of "Reggae Nights" and "Let's Rock the House." But Jackson does make an apparent allusion to her rebellious streak on "Wild Side." The song is a nifty, pop-funk mid-tempo number that benefits from understated melodies atop a percussive, frugally produced dance track. It's precisely this vein that serves the limited vocalist well on further cuts such as the mellow houser "To Prove My Love" and the catchy, pop-club outing "Could This Be Love We’re Making." Not overly ambitious in scale, the songs here are spacious enough to complement the artist's thin delivery -- and simultaneously, the production is fun and doesn’t overpower her. Offering a healthy dose of danceable, memorable ditties, No Relations certainly doesn't match the vigor of 1981's My Special Love, but it is Jackson's most consistently enjoyable, full-length effort from the '90s
Stop! In The Name Of Love
This rather sub-standard collection (also released under the title The Dance Collection) finds Jackson trying her hand at a number of '60s Motown classics, among them The Supremes' "Stop in the Name of Love," Mary Wells' "Two Lovers," Smokey Robinson and the Miracles' "Tracks of My Tears," and her brothers of the Jackson 5's "I'll Be There." In a few instances, Peter Holm's production is crafty, as on the remix version of the title track, a nice intersection of club rhythms and radio-friendly pop elements. But for the most part, the formula is, well, quite formulaic and redundant. It doesn't help that Jackson's singing is of virtually no weight here and lacks any character or warmth. Unlike several of her earlier efforts, which were musically and vocally inciting even if not of the highest caliber, the output here is purely programmed and lacking in any spontaneity. With only a couple of slight exceptions to this rule, Stop in the Name of Love is only recommended for diehard La Toya Jackson completists
