Since I'm a huge Dionne Warwick fan, I may be biased here, but I think it's a very solid album, a very cozy listen on a cold day.
I adore Hal David and Burt Bacharach so I especially love the songs written by them. "Message to Michael" (with Cyndi Lauper) and "This Guy/This Girl's In Love With You" (featuring Phil Driscoll) are stand-outs, though I wish the music itself were closer to the original arrangements.
Most of the reviews have been either positive or at least pretty decent. I was lucky enough to get to see Dionne Warwick perform live with Burt Bacharach in the late 90s and will always consider it one of my favorite musical memories.
One of the reviews from the allmusic website:
Steve Leggett [-]
Dionne Warwick's singing is a unique version of urban pop -- not jazz, although it is jazzy, and not R&B, although it has soul and sway, and not rock or blues, although her voice can ache with a weary intensity. Matched from the early '60s through the early '70s with the songwriting team of Burt Bacharach and Hal David, she produced numerous hits, including "Walk on By," "Alfie," "I Say a Little Prayer," "Do You Know the Way to San José," and "I'll Never Fall in Love Again," among others. If she isn't critically regarded as a legendary icon in quite the same league as Aretha Franklin and other contemporaries, it's really more of a style thing, perhaps because Warwick isn't really a fiery gospel shouter. Be that as it may, Warwick has sold over 150 million records through her five-decade career, and placed nearly 60 singles in the Billboard Hot 100 over that time, so she obviously knows what she's doing. This set, her 28th studio album, includes tracks variously produced by Swizz Beatz, Jack Splash, Jesse "Corporal" Wilson, and her son, Damon Elliott, whose new label, Bright Music Records, is home for this project. It's essentially a duets album that takes a look both forward and back; Warwick is paired with a wide array of guests -- Alicia Keys, Ne-Yo, Stevie Wonder, Cyndi Lauper, Gladys Knight, Jamie Foxx, CeeLo Green, Ziggy Marley, Eric Paslay, Billy Ray Cyrus, Mýa, and Warwick's granddaughter Cheyenne Elliott among them -- on revisited versions of some of her hits. Led by the lead single, a new version of "A House Is Not a Home" that features Ne-Yo (an extended version of the single is also included here), Feels So Good doesn't break new ground so much as it affirms and reaffirms Warwick's quiet stature as a steady and urbane pop singer who has never really bothered to follow the music industry's trends and fashions. She just sings elegantly, and it appears to have gotten her through the decades just fine.
Also on my player today:
I just really like the sound of Andy Gibb's voice. It's a lot like his brother Barry's, but more gentle and sweet. I forgot I have the entire Shadow Dancing album on my iTunes and after "Good Feeling" Shuffled on, I selected the entire album to play and it just fits right into the mood I'm in now.
Shadow Dancing review:
Amy Hanson [-]
Also on my player today:
Shadow Dancing review:
Amy Hanson [-]
As the youngest brother of the massively popular Gibb siblings, otherwise known as the Bee Gees, it's no wonder that Andy Gibb was a superstar in his own right. An accomplished vocalist and writer, Gibb shot to the top of the charts with his 1977 debut Flowing Rivers. Shadow Dancing, released just one year later, effortlessly confirmed his ascension to the top of the pop pedestal. Working with his brothers again, Gibb wowed audiences with his easy-on-the-ears passionate pop. He was well-suited to the era. The title track, which kicked off that year's string of hits, was nothing short of pure, smoldering disco. Written by all three of the Bee Gees (who also added backing vocals to the song), it hit the top of the charts, giving Gibb his third number one single and even more maximum exposure. "An Everlasting Love" and "(Our Love) Don't Throw It All Away" quickly peeled off the LP and landed on the charts. And while many may argue that Gibb's success was received on the backs of the Bee Gees' own stellar reputation, it must be acknowledged that he was certainly not without talent. It's also true that the charting songs on Shadow Dancing all bear the mark of one or more of his brothers; however, Gibb's own material shows great, if as yet unrealized, promise. "Fool for a Night" is a bittersweet, up-tempo piece of pop, and "Melody" works as a wistful love song, while "I Go for You," smarmy as it may be in hindsight, was still better than many of its contemporaries. Laugh if you must, dismiss if you're so inclined, but no matter what anyone may argue, it cannot be disputed that Andy Gibb realized many of his aspirations across this LP and, in so doing, became a vital part of the late '70s music scene.
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