By Jesse Marx
By Chris Parker
By Jake Rossen
By Jesse Marx
By Michelle LeBow
By Alleen Brown
By Maggie LaMaack
By CP Staff
Dionne Sings Dionne
After rising to diva status in the '60s and serving as creative muse for songwriters Burt Bacharach and Hal David until the mid-'70s, Dionne Warwick got waylaid in the '80s. That scary Psychic Friends debacle did little to burnish her reputation as one of the better singers of the modern pop era, and releasing little new material during that decade didn't help either. With her new release, however, Warwick has shed those informercial chains and returned in her latest incarnation: passionate den mother to the young music world.
Dionne Sings Dionne puts together talents as disparate as El Debarge and the Pete Escovedo Orchestra, while the big-hype single, a reworking of the Bacharach-David classic "What the World Needs Now Is Love" brings in, well, everyone: Big Daddy Kane, Flesh 'n' Bone, Kurupt, Coolio. If you've bought a hip-hop record in the last few years, this track is target-marketed right at you.
The rest of the record, luckily, isn't quite as much of a naked grab at the mass market. Instrumentation on some of the classic tracks, such as "Walk on By," has been updated (always an ominous term), but fortunately Warwick's mastery of her mature voice is so compelling that the bad drum machine doesn't matter. Warwick isn't a young singer anymore, and she knows it. Her voice is fuller, a bit deeper, with a hint of raspiness. It's a treat to skip through the songs that Warwick hung her hat on in the early years--"I Say a Little Prayer for You," "Always Something There to Remind Me"--and hear how she carves out new territory. On "Do You Know the Way to San Jose," she brings in Celia Cruz and the Pete Escovedo Orchestra and makes it the song it always yearned to be--big, Latin, and joyous.
Even with missteps like the love theme from "The Bold and the Beautiful" (who knew that TV shows had love themes?), Warwick has created a record that is a testament to growing old gracefully. She's not yet ready to shed that diva label.
Naked Without You
Like her labelmate, Dionne Warwick, Taylor Dayne is entering her second career, diva-wise. She hit the ground running in the late '80s, releasing a debut record (Tell it to My Heart) that spawned four hit singles and oodles of dance remixes. Soon, she was a throw-your-hands-in-the-air dance-floor darling. A follow-up record was also huge, but subsequent releases in the '90s never took off.
The years have treated Taylor well, however, and she's returned with a new record that not only shows off her vocal skills but also comes chock full of cheesecake photos of the luscious Ms. Dayne in various subtle states of undress--hence the title. Naked Without You is the standard diva package. There's up-tempo songs like "Unstoppable" and "Whatever You Want" alongside obligatory heartfelt ballads. The usual strings-and-synthesizers weigh heavily on these tracks, but Dayne's got a big voice that carries her through the more maudlin moments.
There is one unfortunate cover of "You Don't Have to Say You Love Me," originally popularized by über-diva Dusty Springfield. Oddly enough, Dayne's version doesn't fail because Springfield's voice was so much better--rather it's quite the opposite. Dayne's voice is almost too strong for the warbling vulnerability of the song. Where Springfield's voice dipped and cracked, Dayne's soldiers along. On a song that pleads vulnerability, the outsize confidence of her voice overwhelms.
On the whole, the disc, which includes a dance-floor remix of "Whatever You Want" that can easily hold its own on a steamy club night, is a relatively decent offering--though folks looking for the big disco experience would do better to pick up remixes separately.
Sometimes divas sport a subtler style. Earlier this year, with deserved fanfare--including rave reviews from the Los Angeles Times, Downbeat magazine, and the Chicago Tribune--lesbian vocalist Patricia Barber released one of the best jazz records of the decade. Modern Cool spotlights her delicious voice and top-notch arrangements, making it the kind of jazz record you'd buy even if you don't like jazz.
Barber makes no secret of her affections, and her quirky sensuality comes through on the disc's cover tunes. A reworking of "Light My Fire" turns the Doors' carnivalesque classic into a sexy plea as Barber lingers over each chance to say the word "girl." Paul Anka's "She's a Lady" gets the same languid treatment, sung at almost half the speed of the quintessential Tom Jones version. When Barber tells you that her lady is "the kind I'd like to flaunt and take to dinner," you're left a little breathless.
Barber's no slouch on her own songs either. She tackles modern makeup ("A Touch of Trash") and e.e. cummings ("Love, put on your faces"). She has a cool, literate style, and the sparse arrangements highlight her vocal talents nicely.
A show earlier this year at the Dakota Bar and Grill went underpublicized, but rumor has it she may be back in town soon. It'd be a shame to miss her sly, sexy style when she passes through.