Fortunately, Queensryche brought its sound up to date with contemporary standards and delivered an album that is bound to make noise at mainstream rock radio and even has a shot at crossing over to modern rock outlets. The giddy title track is already a deserved pop smash, with the equally catchy “I Wanna Come (With You)” and a quirky interpretation of Shania Twain’s “(If You’re Not In It For Love) I’m Outta Here!” waiting in the wings to follow suit.Īfter Queensryche’s 1994 album, “Promised Land,” fell short of its predecessor - the 1990 breakthrough “Empire” - the band could have gone down with many of the late-‘80s hard rockers who lost out to the grunge generation. Although the act dabbles in mild balladry and the occasional hip-hop shuffler, the most appealing jams are those carrying its patented Euro-NRG sound. And there’s nary a sign of sophomore slump to be found on this likable, potentially hit-packed collection.
But, as they say, there ain’t nothin’ like the real thing. It seems like a lifetime since Real McCoy railed against the parameters at pop radio and forced programmers to make room for dance music with its platinum-selling 1995 debut, “Another Night.” Since then, there has been a slew of copycats.
A fitting tribute to one of the most ground-breaking and inspired recordings in history. Remarkable as it is, the interactive content of “Graceland” is not played up in retail bins, the album looks the same as the familiar 1986 version, and it plays as an audio CD. Furthermore, the disc contains footage from the South African tour that followed the release of the Grammy-winning album.
#Mary j blige share my world album track list full
The interactive portion contains illuminating interviews with Simon, guitarist Ray Phiri, and Ladysmith Black Mambazo’s Joseph Shabalala samples of Simon’s handwritten lyrics and full performance credits. Reissued as an enhanced CD, Paul Simon’s “Graceland” now offers added value to fans interested in the making of the epochal album. Highlights include the bouncy “To the Moon & Back,” the tender love song “Truly Madly Deeply” - both hits in Australia - the Michael Jackson-inspired “Break Me Shake Me,” the ballad “Universe,” and the INXS-reminiscent “Tears of Pearls” and “Violet.” A stardom-bound group that brings an ‘80s-influenced sound up to date for an audience that spans top 40, AC, dance, and rock outlets. Beyond “I Want You,” there are several hit-worthy tracks here, all of them written by group members Darren Hayes (vocals) and Daniel Jones (keyboards, programming, vocals). by storm with this outstanding debut album. “Love Is All We Need” is lush with snappy instrumental flourishes to the cadence of an urgent hip-hop beat “Missing You” offers listeners a simple slow-groove mood with thoughtful musical changes, all wrapped in reverent background vocals by Shanice Wilson and “Everything” offers a glittering tapestry of samples held together by the vocalist’s trademark sonics.īuoyed by the gold top 10 single “I Want You” and massive success in its native Australia, pop/rock duo Savage Garden is primed to take the U.S. Kelly, James Mtume, and Jimmy Jam and Terry Lewis - the set maintains a creative consistency. Despite a cavalcade of top-notch production talent - including Track Masters, Babyface, R. The bad news is, set against songs of this caliber, Blige’s self-written material comes off as meandering and half finished.This superstar’s third original set demonstrates steady song and vocal maturity via thickly textured hip-hop and contemporary R&B sure to appeal to late teens as well as early thirtysomethings. Not only is her piece of the Waiting to Exhale pie, the snarling ”Not Gon’ Cry,” present, but Babyface has also written for her an atypically tart country-blues lament called ”Missing You,” which features a choir of aching Mary J.’s. But amid all this good cheer, Share My World‘s twin highlights are weepies penned and produced by Babyface, who has worked with a plethora of performers (Whitney Houston, Brandy, Boyz II Men) adept at cooing sweetly through his lilting lullabies - but only Blige is capable of imbuing his compositions with grit. She unleashes equal joy on the other Jam-Lewis contribution, ”Everything,” a song that builds on the foundation of the Stylistics nugget ”You Are Everything.” Continuing her streak of smartly chosen covers, Blige breathes new life into the old Natalie Cole hit ”Our Love,” vamping gleefully through the coda. But one listen to the exultant way Blige reacts to the whomping drums, vast chorus, and wide-screen production Jimmy Jam and Terry Lewis cook up on ”Love Is All We Need,” and it becomes clear that a chipper Mary J.
This kind of transformation usually means misery for audiences. Blige, a warm, dressed-to-the-nines, non-tantrum-throwing woman of the world. Share My World is being promoted as the work of a new Mary J.
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