Customer Reviews

How Sweet It Is

5 star:		(35)
4 star:		(11)
3 star:		(6)
2 star:		(5)
1 star:		(6)

 

 

I'm surprised to see such negative reviews here. I got this when it first came out, and I was stunned by the first listen of the CD (a rare occurrence for me). I go by the expression "expectations die hard"--I don't have expectations in life anymore. I think the people that panned this do, and they're expecting a "Relish 3". So of course they're going to be disappointed; even if it were a "Relish 3", they'd probably still complain because they're stuck on a single success in the past that obviously cannot be duplicated. It's too bad people limit themselves like that. But back to the album...

I think these are all excellent readings of songs we mostly already know.

* "I'll Be Around" is mellow, like the original. She carefully executes the vocals throughout.
* "Think" of course cannot be improved from Aretha's original, but it is nonetheless so well done here. She doesn't soar on it Aretha style--but would you want her to? And the backup singers add great effect as well. Backup singers can sound too forced or too calculated; here they do not.
* "How Sweet It Is" is also mellow, yet still subtly smoldering.
* The infectious "Smiling Faces" features a smooth Isaac Hayes harmony vocal, and it's irresistable.
* "Love's In Need Of Love Today" isn't particularly distinguished, but that doesn't mean it's bad by any means.
* "These Arms Of Mine" is one of the standouts. Again, no one could ever touch Otis' original, but you'll definitely enjoy this one without even thinking of his. It's gorgeous!
* "Only You Know And I Know" is probably the kind of track the naysayers of this album were looking for. It's a great rocker.
* "War" is another standout. It is nothing at all like the original--but that's a big part of its success. I think it's a brilliant, incredibly soulful interpretation. She brings to light lines that are probably becoming relevant once again today--"war has laid waste to a whole generation, induction and destruction, who wants to die?". It's a knockout.
* "Why Can't We Live Together" is stunning and is pure soul, no doubt about that.
* "Axis: Bold As Love" is a surprising choice, but it's beautiful with wonderful harmonies throughout.
* "The Weight" is a smart (and a little sassy) retelling, again with great usage of backup vocalists.
* "Everybody Is A Star" isn't a standout, but it's still a good listen.

So all in all, as far as cover albums are concerned, I think this is a great album. I think the best cover album ever is Laura Nyro & Labelle's 1971 classic "Gonna Take A Miracle", so for me that can never be outdone. But this is up there!

Forget your expectations of Joan, and you will love it.

Joan Osborne has suffered from a tumultuous career ever since she reached her biggest mainstream success with the one hit people remember - "(What If God Was) One Of Us."

Being nominated five times at the Grammys for her "Relish" release and walking away with none was only a snippet of what was to come.

Right after the Lilith Fair phenomenon faded, Polygram Records dropped her, predicting that the market for female singer-songwriters was long gone and pop was the coming wave.

Osborne, surprised by this sudden and unexpected loss, took five years off to recuperate and sign onto the Interscope Records roster - releasing her most accomplished effort musically, "Righteous Love," amid the healthiest days of Napster.

Again, her record company dropped her.

This whole ordeal left Osborne as an unsigned one-hit wonder with two highly impressive albums under her belt.

However, most people remember her as the curly-haired pierced-nosed crooner with that song about god being a slob like one of us.

Fazed by all of this, the soulful folkie went indie with a new record company named Womanly Hips with the help of Compedia Music Group.

Osborne then released her latest LP, "How Sweet it Is," which is an album of cover versions from soul artists, citing most of her influences one by one. This might not be a good decision after a long break. It's also not a clever idea to generate airplay - since all of the tracks are cover versions, and these rarely make their way onto the airwaves.

Soul classics appear from start to finish, with a heavy '60s ambience. The track that will stand out the most is "Think," a remake of Aretha Franklin's legendary theme.

Although this version does not capture an ounce of the pizzazz it had, it still serves as a refreshing resurfacing of a timeless classic. The title track is a Marvin Gaye cover with strong emotional flow and simple, yet solid lyrics.

What would a soul collection be without Stevie Wonder? Osborne speaks for many music lovers when she covers "Love's in Need of Love Today" from the monumental "Songs In The Key Of Life."

This album merges with a bell-ringing chain of ditties. Otis Redding's "These Arms Of Mine" shines, while Edwin Starr's "War" is an aptly-timed number, that was previously covered by Bruce Springsteen during the Gulf War.

No legend is left uncovered by Osborne. Jimi Hendrix's "Axis: Bold as Love" is a sweet stretch, and a Sly & The Family Stone number, "Everybody's A Star," closes the set.

"Sweet" is made of carefully handpicked tunes, lined up in the smoothest way possible, both lyrically and musically - note that "Why Can't We Live Together" immediately follows "War."

This is a good album of unoriginal material. No new material after a long wait can kill a fan base, but this album has the ability to muster curiousity of what is to come out of this white girl with a whole lot of soul.

This is one of the most immediately impressive albums I've heard in a long time. It remains to be seen how it will hold up over time, but my guess is that it will become a classic.

This album is primarily a tribute to black songwriters. One caveat: Not surprisingly, Dave Mason's "Only You Know and I Know" and The Band's "The Weight" don't fit in, as good as those songs are.

Most of the arrangements here are shockingly different from the familiar hit versions, and in re-thinking each song, Osborne has come up with interpretations that make me appreciate the songwriting more than the originals did. For instance, "Think" is one of my favorite Aretha Franklin songs, but until I heard Joan Osborne do it, I didn't realize how clever the song is. In fact, I had the same revelatory experience with many of the cuts here, including "Axis Bold As Love," "Smiling Faces Sometimes," and "I'll Be Around." Stevie Wonder's "Love's in Need of Love Today" is simply sensational. This song has been covered several times (Whitney Houston, George Michael), but Joan Osborne does by far the most effective version yet.

I've only played "How Sweet It Is" a few times, but it would now make my list of top ten desert island discs. And the production quality is killer -- you'll want to turn the volume up and up and up still higher.

Joan Osborne returns for her third studio album with a mixture of vintage soul, R&B and Classic Rock covers. To those of you who only know Joan Osborne for her pop hit "One of Us", you are missing the blues, jazz and soul that is the heart of Osborne?s music. Here she lines up a fantastic range of musicians and a variety of covers that, when you remember the originals, "Can they blend together on one album?" Yes, they can. Osborne pulls these dusty relics off the shelf and revives them by infusing them with her passion and heart, providing us with another rare glimpse at this artist's wide range of talent.

Many reviewers have made light of these covers, saying the originals were much better, that you should get the originals and not this album. They obviously haven't bought this album or even listened to it.

Why an album of covers? Only Osborne can answer that question, but if a song is going to survive the test of time, if a song is going to make it to the ranks of one of "the greats," then it needs to be worth covering, worth the time an artist takes to invest in a re-interpretation. To do that, a song has to have some core, or meat that is timeless and is worth preaching to a new generation, or as a dutiful reminder to an aging and greying generation. First question, are these songs important enough to warrant a cover version? Do they have some timeless quality that can speak to any generation? Are they good enough to survive being covered? If the answer is "No," and your childhood memories of them are too holy, then go back to your originals, wallow in your nostalgia, and read no further. If the answer is "Yes," then go on to the next paragraph.

For your favorite classic R&B tunes from the 60s and 70s, who would be your ideal cover artist? Brittney Spears? Madonna? Jessica Simpson? I can think of no better person than Joan Osborne. Her music is always filled with love, passion, soul, and....soul. Her voice gets into your bloodstream and bubbles around inside while her music washes through you and fills you so full of truth that you don't want to walk away. She is the only contemporary artist I would trust to cover any song, and of course from whom I would hope for more originals soon. Got a better choice in favorite artist? Stop reading now. If you agree that Osborne is your woman for the covers, then go on to the next paragraph.

Interpretation. That is so tough for most people. Yes, music is an art form and the performers interpret the music. So these songs don't sound exactly like the originals. What would the point be if they did? Remember the Mighty Lemon Drops covering a Doors tune in the mid 80s? Sounded just like the Doors. No interpretation. What was the point? So be prepared to hear new versions of the old tunes, sometimes with a completely different groove. We're not getting the originals from Osborne, we're getting her interpretation of these songs that are important to her, that she feels need to be remembered. There is so much good stuff that I?m surprised these songs haven't been covered more often. Osborne finds the juicy nuggets of these songs, spreads them around to her collaborators, and brings us wonderful new polished gems of "I'll Be Around", "How Sweet It Is," "Only You Know and I Know," and "Why Can't We Live Together."

One of the most poignant moments is a more serious version of "War" than the original, such that for the first time I have actually really been able to listen to the lyrics of the song and the depth of the potency they bring. The original covered up the message with too much noise, and the message never came across completely, just the chorus phrase, "What is it good for? Absolutely nothing." But the original glosses over "War has laid waste to a whole generation," or "They say we must fight to keep our freedom, but Lord there?s got to be a better way," Songs are made with lyrics, and they need to be heard too. I?ve heard the original hundreds of times and those phrases never stuck to me the way they do when Joan Osborne sings them. Osborne really hits home a most timely song reflecting on recent world events with this song especially.

And frankly, I'm so tired of the original version of "The Weight" that it's good to hear a fresh version.

Obsorne proves herself once again, in all songs of this album. The only criticism about the album is the presence of the Moog and Hammond sounds that were so typical of the originals and their time. Osborne's choice to be authentic with the organ sound makes the entire album feel dated, making it feel more a product of the 1970s than of 2003. Sure, a couple of the songs could benefit from that feel, but not the whole album? And the underscored and synthesized horns on several tracks really blow (no pun intended) in a baaaad way. Synthesized horns never sound good. Get the real trumpets and t-bones etc if they are crucial to the sound of the album. Other than that, a flawless album and worth owning for your long-term CD collection. Give us more Joan Osborne!

Joan Osborne recorded a couple of covers on her "Soul Show" CD on her own Womanly Hips label in '92, doing "Son of a Preacher Man" & "Lady Madonna." She takes her interest in vintage music to new level here. The remarkable thing about "How Sweet It Is" is that despite all of these songs being blasts from the past, Joan never sounds nostalgic or retro; she updates the songs with a very personal contemporary sound. The first 2 tracks are my favorites at present with the smooth jazz groove of "I'll Be Around" with its confident, almost joyous vibe. I also really like her take on the Aretha Franklin classic "Think"; John Leventhal's guitars have a joyful hypnotic effect as Joan recasts the song's urgency into a boiling undercurrent, equally as hot; when Joan breaks out on the chorus with "freedom," it makes me think this is the perfect track to blare out over Radio Iraq. "Love's in Need of Love Today" is also given a distinctive reading, making us realize just what a classic Stevie Wonder produced with this beautiful melody. "War" I like simply because it is so boldly different from the orginial Starr rendition. "Axis: Bold as Love" is new to me, and I'm appreciating Joan's take. I agree with the reviewer who votes for Laura Nyro's "Gonna Take A Miracle" as the all-time classic covers set; and I also liked Shawn Colvin's "Cover Girl," but "How Sweet It Is" is sweet indeed. Enjoy!

Joan Osborne's last CD, Righteous Love was quite the unexpected pleasure. It had been 5 years since she released Relish (an eternity in the music biz), and the CD found her exploring a number of new musical directions. But when an artist releases a disc full of cover songs, I tend to be a bit skeptical. Did they have a case of writer's block? I've always been a big fan of covers; but all too often, they pale in comparison to the original versions. Naturally, there are exceptions to that rule, and this CD is definitely one of them.

The thing that sets this disc apart from other cover or tribute CDs is the way Osborne captures the essence of these songs and transforms them into something all her own. Want some examples? Check out the title track. If you've only heard the boring James Taylor version, you'll definitely want to give this one a listen. Joan's take on the Edwin Starr classic, "War" is drastically different. Presented at a dirge-like pace, it underscores the message behind the song. "Bold as Love" and "The Weight" are radically changed as well.

Not all the songs are different from what you're expecting though. Some of them are just plain cool. "Smiling Faces Sometimes" with Black Moses himself, Isaac Hayes, fits into that category, as does "Why Can't We Live Together" and the rocking version of "Only You Know and I Know."

These songs are the perfect showcase for Osborne. How Sweet it Is is one of those CDs that you enjoy the first time you hear it. My only complaint is that is doesn't include her smoldering rendition of "Son of a Preacher Man" (a staple of her live shows). Aside from that, this is a great disc.

I'm a very big Joan Osborne fan, and I was waiting with baited breath for this album to be released. Purchasing "How Sweet It Is" was definitely worth the wait, to say the least. Joan's tribute to the country's post-9/11 morale with this album couldn't be a more uplifting and heartwarming creation. She's taken 12 classic songs and reworked them, and given some a new meaning, and respoke the meaning of others.

The beautifully honest arrangement of "How Sweet it Is" is definitely noteworthy, as is "These Arms of Mine," which will stop you dead in your tracks. "Only You Know and I know" is pure fun, and "Axis: Bold as Love" is pure laid-back groove.

Joan makes a most impressive rendition of "War" by throwing out the catchy melody we all know so well, slows the tempo and keeps the instrumentation at a minimun, forcing us to focus on the dead-on and powerful lyrics to this song.

She closes the album with "Everybody is a Star", which is a nice, warm way to finish things off..I think my only complaint is that this track, the shortest on the album, leaves me wanting a couple more minutes of "Da, da-da-da." But anyone who is a fan of Joan Osborne, or a newcomer, or simply looking for a solace to reside in can rest assured they'll find just How Sweet It Is with this extraordinary album!

The problem with Joan Osborne is her voice; it's such a sublimely powerful instrument that her material often seems beneath her. Her debut album was a solid effort. Even the largely ignored follow up RIGHTEOUS LOVE showed strokes of brilliance (check out the title track or the Bob Dylan penned 'To Make You Feel My Love.' Ultimately, however, it fell victim to too many producers hands in the studio. So, one would think that Joan had found material to match her powerful set of pipes in the tunes of R&B's golden age. Somehow though, this too doesn't seem to work. Not that it's an awful album. Joan's quiet version of 'Everybody is a Star' is an absolute understated triumph, as is her version of 'These Arms of Mine.' Largely though, this collection feels uninspired and indifferent. What strikes me most while listening to the songs on this album is the choice of covers. It seems to me that Joan would inevitably turn to the Godmother of White Soul whose shoes she seems destined to fill--Dusty Springfield. Yet there's not a Springfield track on here. Wouldn't it be amazing to hear Osborne belt 'Breakfast in Bed' or 'I Can't Make it Alone'? What seems like a no-brainer to me must not have occured to Osborne's camp. If it had, a much worthier collection of tunes would've resulted. While this album is no masterpiece, it's better than most of the stuff out there due solely to Joan's powerful voice. It's just that you know she's capable of making an amazing album. She just hasn't done it yet. We can only hope that her record company will be patient enough with her til she does, a problem facing many talented artists today.

Right from the opening notes I was captivated. Why? Because, instead of faithfully duplicating the original or creating a commercially viable but emotionally washed out series of covers as his been the case with a great many re-makes by other singers, Joan Osborne pretty much re-defines these pieces.

She knows her way around these songs. She cajoles, exhorts and beguiles. She has an intimacy with this material, as though she has wrapped herself in the very fiber of the material.

An inventive and talented singer, she understands what these songs are about. She understands the underlying emotions. This woman is SOULFUL. Her renditions of these pieces stand, right now, you don't feel compelled to go running to play the originals, since her versions are that good.

Joan Osborne shows you how to be an original while doing an album of other peoples material. This one is a keeper. A treasure chest.

This week in my usual search for new music, I stumbled on the new Joan Osborne album while doing my regular album purchases. I used to be somewhat of a fan a few years ago when she had some success on MTV and so forth, but it was enough to make me interested in her music. I bought that album and when I noticed her new cd, How Sweet It Is, I figured what the heck the first album wasn't that bad. But, with this new cd there are a bunch of remakes of really cool songs from the 60's and 70's and stuff. One thing I also enjoy about the cd is the really soulful type of singing she does throughout the cd. I really like that kind of stuff. Also if you like Aretha, then definitely check out Joan's version of Think. That's my two cents.