Customer Reviews

Every Home Should Have One

5 star:		(19)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This has to be the best if not finest R&B Female Vocalist album of the 80's (that can definitely withstand the test of time)! Even the comedic and quirky sounding title-track is a rare gem.

My only disappointment was discovering that the c.d version of this album has a few seconds of the cool intro on Baby Come to Me lopped off (radio edit?) as opposed to the l.p. Also, a few of the tracks have been re-mastered or "enhanced" with additional instruments not on the regular l.p. (no-it's not because it's on c.d. and sounds clearer than an l.p.-- a trained ear knows these little sonic differences).

Aside from the technical or engineering sonic differences, every track is beautifully crafted and sung by Ms. Austin. You can hear it in her vocal talent and ability that she has a lifetime of natural skill and professional training behind her; What extraordinary finesse and style !

The producing and arranging from Quincy Jones has that familiar Michael Jackson-Off The Wall sound as well (which he also produced for Michael with Patti Austin singing background vocals).

The collaboration of Jones and Austin have given the world an example of what it is to produce an album (regardless of the genre) with equal amounts of excellent crafstmanship and talent from the producer and artist !!! 5 STARS ALL THE WAY!!!

I've always been amazed how someone as supremely talented as Patti Austin hasn't achieved greater recognition. She is one of the great treasures of the 1970s, 80s, 90s, and on into the next century. Her remarkable voice -- and, more than that -- her remarkable Heart, are important to this Earth of ours. This recording has withstood the test of time, and will continue to do so. A great artist.

I've been a fan of Patti Austin for goodness knows how long. I first heard her voice via the work she did back in the 70s with people like Bob James, Earl Klugh, Ron Carter, Hank Crawford, Eric Gale & Lee Ritenour. Aside from her extensive session work, she also had a very lucrative career singing jingles, apparently (as did Luther Vandross at the time). I then began to collect her albums, (of which she has many), on vinyl and they are all treasured. This is the only one I'll be transitioning to CD though as on the whole, I find Patti Austin is better enjoyed at home than on the road. Ironic really, considering this album's title.

I first heard Austin work with Quincy Jones on his 1978 album Sounds...And Stuff Like That!!, where she performed the stunning tunes "Love Me By Name", "Superwoman (Where Were You When I Needed You)" and the beautiful duet with Luther Vandross, "I'm Gonna Miss You In The Morning". Then there was "It's The Falling In Love", her duet with Michael Jackson on his 1979 album Off the Wall, and the brilliant Grammy Award-winning "Moody's Mood", her duet with George Benson on his 1980 album Give Me the Night, both Quincy Jones productions, of course.

But it was on Q's 1981 album The Dude that I thought Austin shone the brightest, giving stunning performances on songs like "Razzamatazz", "Turn On The Action", "Betcha' Wouldn't Hurt Me" and my personal favourite, "Somethin' Special". So I guess it was inevitable that Q would go on to produce an album for Austin and this, also from 1981, is the product in question. In terms of musical quality, depth, smoothness and all that, it's top notch as one would expect but it's my belief that Austin drew the short straw where the songs was concerned. It's not that I don't like them, quite the opposite; with the exception of the out of place reggae-influenced "Symphony Of Love" (which, with all due respect to the memory of Bob Marley, I could have done without, thank you), I love them all. It's just that apart from the ballad "Baby, Come To Me", her duet with James Ingram (written by Rod Temperton, of course) and the magnificent "Oh No, Margarita" (written by Austin and Michael Broddicker), even I can admit that none of the songs here are really standout, remarkable or memorable - not even the other three Temperton tunes - which is a huge shame, really.

Austin gives her all though. My buddy Joe and I were listening to this a few weeks ago and we both agree that while her lead vocal on the verses might be a bit wanting, her multi-layered, multi-textured background vocals on the choruses are simply unbeatable. She does all the vocals herself, apart from on "Do You Love Me?" (an excitingly upbeat tune featuring cracking guitar work by Steve Lukather) and "Baby, Come To Me", where James Ingram helps out on BVs. A remarkable feat. Chaka Khan is the only other female artiste I know of who is able to pull it off this successfully. She's more jazz than anything else these days but Austin remains one of my unsung heroes of modern soul. I think she's awesome.

Apart from the aforementioned, other favourites include the Linda Creed & Thom Bell classic, "Stop, Look, Listen" and the closing ballad "The Island". On the whole, a very good album that had the potential to be a great one but didn't quite make it.

Some album trivia:

1) "Baby Come To Me" didn't make much of an impact on the charts when it was first released in 1982. It was then used on the ABC soap opera "General Hospital" and this generated so many enquiries about the song that the record company decided to release it again early in 1983. It went straight to #1.

2) Austin was interviewed for a magazine shortly after this album was released and the interviewer remarked on how much she sounded like Michael Jackson. I don't recall the exact words but Austin laughed (I've seen her on TV and she's a very funny lady) and said something along the lines of, oh no, honey; get it right. It's Michael Jackson who sounds like ME! I recall laughing out loud.

3) The album featured people like Louis Johnson on bass, Greg Phillinganes on keys, David Foster on synthesizers, Paulinho Da Costa on percussion and Eric Gale on guitar.

4) Austin ceased to be Quincy Jones's muse following this album. Q's next project, Michael Jackson's Thriller, did not feature her at all and neither did any subsequent projects, at least, not as a lead vocalist (except for a duet she did with James Ingram on his Quincy Jones-produced album It's Your Night). Eventually, on Jackson's Bad and Q's own Back on the Block, Q introduced Siedah Garrett as the main lead female vocalist.

...ready and waiting so, show me your stuff, give me the good times, I can't get enuff.

She's killin' me softly.

I still love hearing this stupendous CD. It's got those great Rod Temperton tunes, Q Jones production, Bruce Swedien's Acusonic Recording Process, players Phillinganes, Johnson, Foster, Robinson, Boddicker, Da Costa, et al, et al.

And the angelic sounds of one of the greatest voices ever.

Reach the Promised Land with Patti.

It's clear to see that Quincy produced this. It's a crystal clear, seemingly perfect mix of R&B/Dance/Rock, made all the more perfect by Austin's gorgeous singing, Jones' stellar musicians, and Bruce Swedien's masterful engineering. Each song is unique in its own way; it's one of those CDs that is such a treasure that one can't believe it's finished so soon. No doubt, once it does finish, you'll play it again.

Ms. Austin starts by singing "Do you love me?" and takes it from there! This is a good album that I can play over and over again. Though she is primarily a jazz singer, her ability to perform Pop and R&B tunes shines here. My favorites, "Do you Love Me" and "Every Home should have one." I agree! Every home should have Patti Austin! Four stars!!

I guess everyone agrees that this is a great album. I just wish they would rerelease it, WITH the extended 12" version of DO YOU LOVE ME. It was a #1 dance track when originally released, and today still stands with the best of them.

Patti Austin sounds so strong all the way through on this disc.Produced by The Greatest Producer of All-Times Quincy Jones this disc captures the Many Talents of Patti Austin.this Recording has aged quite well and still sounds fresh Today.Patti Austin has been Long Underrated.she is a very Talented Lady.Her&James Ingram have strong CHemistry.

As "remastered" editions go, the general sound quality of this reissue is absoloutely fantastic, but unfortunately, Friday Music was wrong to call this edition "original LP remastered". The LP, released in 1980 on Qwest Records, contained a full-length version of the hit "Baby Come To Me" including three measures in the intro, adding about 7 seconds. No CD issues anywhere included the full length version of the song, and so sadly the status quo remains. Very disappointing.

That's right, every home should have one. I know I do.