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Compositions

Compositions

December 16, 2008

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Product Details

  • Original Release Date: June 12, 1990
  • Release Date: June 12, 1990
  • Label: Rhino/Elektra
  • Copyright: 1990 Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 50:33
  • Genres:
  • ASIN: B001OB09BE
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (59 customer reviews)
  • Amazon Best Sellers Rank: #58,449 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

4.9 out of 5 stars
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This album is, admittedly, at the top in my playlist of Anita Baker's efforts.
vsf
This CD has some of her older songs which I was able to relate to, so turn up the volume and just sit back and listen!!
bmgecan
Next there's the most mellow "Perfect Love Affair" with Anita's velvety vocal.
Beverly Praiswater

Most Helpful Customer Reviews

26 of 26 people found the following review helpful By John Jones on April 13, 2000
Format: Audio CD
Everyone knows Anita's hits from her breakthrough release, "Rapture" and its successor, "Giving You the Best That I Got"...you had to be under a rock in the mid-to-late 80's to not hear "Sweet Love," "Same Ole Love (365 Days a Year)" and "Giving You the Best That I Got" played on the radio in regular rotation (those were the days when adult artists still got airplay and cracked the Top 40...and in Baker's case, the Top Ten). But "Compositions," Anita's fourth album, is her true work of art.
As the title suggests, Anita contributed to the writing of most of the album, even penning one tune solo. The result is some of the most well-measured material in her career. You'd be hard-pressed to find a song better suited to Baker's voice than "Talk to Me," a warm ballad that could either be from friend to friend or lover to lover. The same can be said for "Perfect Love Affair" and "No One to Blame," songs that, instead of sounding like leftovers from "Rapture," manage to further mine Anita's definitive style, coming off as instant classics.
Baker's forays into jazz were always frequent ("Rapture"'s "Been So Long" and "Giving You the Best"'s "Good Enough" have always been considered among her best) but "Love You to the Letter" and "Lonely" (the latter of which is Anita's solo composition) take her over the edge into full Swing Diva mode. Somewhere between Sarah Vaughan and Ella Fitzgerald, Anita finds her own jazz voice and makes you wonder what sort of magic she'd conjure up on an album of standards.
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10 of 10 people found the following review helpful By Yiannis Psaroudis on February 1, 1999
Format: Audio CD
on this, her fourth album, anita baker continues to give us the best that she's got. though _compositions_ contains fewer breakaway masterpieces, baker's songwriting and vocals are as flawless as ever. acheiving popularity during the height of 1980s fascination with quiet storm, baker remains a much-respected fixture in the music industry, and is almost single-handedly responsible for perserving rhythm and blues in its truest form. the fact that baker is actually in the studio with the musicians, coupled with the powerhouse back-up vocals of perrí, make for extraordinary listening. baker's songs speak of love in a way that is far too seldomly done, nowadays. "fairy tales" the album's crowning glory, though dealing with the pain of heartbreak, takes us back to a time when love invoked romance before sex. baker's voice is at it's best as it soars and sails over the metaphorical lyrics, making the listener hungry, already, for her next release.
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13 of 14 people found the following review helpful By Gregor von Kallahann on December 6, 2002
Format: Audio CD
If Anita Baker ever looked at the customer reviews of her work in Amazon.com, I'm sure she would find it a heartening experience. Her fourth album COMPOSITIONS was not generally well received by critics in its day. It lacked an obvious hit single like "Sweet Love" or "Giving You the Best that I've Got." In fact, these songs, most of which were co-written by Anita herself, were cooler and jazzier than her 80s efforts (I know that may scarcely seem possible, but, as she proves here, it is). There is a kind of languor about this material that some, on first hearing, took for torpor. It requires a few re-hearings to hear what Anita and band were really up to--and there is good stuff here, to be sure.
Typical of the critical reaction is J.D. Considine's dismissive remarks in THE ROLLING STONE ALBUM GUIDE ("...an album so devoid of cogent songwriting that one wonders if the title wasn't meant ironically"). I think Considine was being way too glib--aside from being plain old unfair--but I can see how one can have some initial doubts about this album. Upon first hearing it, I found the "compositions" a little amorphous too, but there was something about that forced me to give it repeated listenings and I found my opinion considerably altered by the third or fourth time. Anita's quiet storm gradually gained strength, and now I consider this album among her best.
Anita Baker is a singer who has carved out her turf. You could say that she has her limitations (what singer doesn't?). "Lonely," which she penned herself, is about as uptempo as she gets. You're not going to find funk here. Everything else is mid-tempo jazz-inflected soul. Arrangements are expansive and leisurely (no track clocks in at less than four and half minutes).
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8 of 8 people found the following review helpful By Beverly Praiswater on June 12, 2005
Format: Audio CD
This is one of Anita Baker's most complex works. Most of the songs were written by Anita in collaboration with other accomplished songwriters.

Some of the highlights include the richly intricate "Talk To Me". Next there's the most mellow "Perfect Love Affair" with Anita's velvety vocal. "Soul Inspiration", with a dazzling arrangement and Anita's full-bodied vocal, is a shining star! "Lonely" is fascinating with its varied tempos and Anita's sultry vocal. She builds this one to a red-hot frenzy! The piano solo is a cooker as well. Then there's "No One To Blame" with its bluesy atmosphere and raw emotion. The finale "Fairy Tales" weaves a lyrical story complete with a fine arrangement as Anita's vocal builds along with this tale. Kudos to Greg Phillinganes on the piano solo at the end. It is hot!!
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