Most Helpful Customer Reviews
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22 of 22 people found the following review helpful:
5.0 out of 5 stars
LIKE WINE..SHE JUST GETS BETTER WITH AGE, March 19, 2000
By A Customer
The legendary Tina Turner's latest studio album is a blend of modern pop music. Theres rock, pop, R&B, all mixed together in this incredible recording. Turners voice sizzles throughout the eleven tracks. Stand out tracks is the #3 dance hit "when the heartache is over", also the uptempo ballad "whatever you need" and the declaring "all the woman" also of note are the thunderuos "without you" which features a cameo by Bryan Adams, and "twenty four seven" which is a great fun rock number in which Tina does best. over all this is simply one of her best albums, i think its just as good as "private dancer" there really isn't a bad song on the album, her longtime fans will be pleased, and her new followers will simply enjoy. Whats amazing is after over fourty years every fresh Tina Turner project is simply the best. Do yourself a favor purchase this incredible album.
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40 of 46 people found the following review helpful:
4.0 out of 5 stars
Return to Top Form by a Modern Veteran, December 22, 1999
Having been disappointed by her last, rather lack-lustre recording "Wildest Dreams", I confess to have approached this new effort with some trepidation, and so am happy to report on Miss Turner's best effort in well over a decade.Tina's first really cohesive album since attaining super-stardom is no mean accomplishment, given the array of producers and musical styles, but it is held together throughout by her re-energized and assertive vocals and supported by talented and sympathetic production. Primarily focusing on a euro-dance and euro-pop sound, the first half of the album is outstanding, topped by the excellent "Absolutely Nothing's Changed", the slinky "All The Woman", the classic-sounding, mid-tempo "Whatever You Need" and the first single, the Rawling and Taylor-produced "When The Heartache Is Over" which unfortunately begins with a sound crashingly reminiscent of another large comeback hit by a one name star (you guess who), but then thankfully assumes an assiduously rhythmic identity of its own. The ballads on the set are effective; the plaintive "Don't Leave Me This Way" is particularly moving (even with its predictable chorus) and the sexy slow remake of "Falling" is the album's best showcase of her prodigious vocal talent. But while the strident "Without You" is serviceable and hardly original, the superior "Go Ahead" is a winner, especially for its phrasing. Less than outstanding is the throwaway - and too obvious - title song, which sounds like a weak blend of "Proud Mary" and "Break Every Rule", but which still manages to achieve its limited objectives. And the delightful mid-tempo, gospel tinged "I Will Be There" is superior to its similar-sounding (and definitely poor!) cousin, "Talk To My Heart". Though not a classic - after all, such heights are supremely difficult to achieve - such a synthesis between artist, themes and music as is accomplished on this album makes it, in my opinion, essential music for those wishing to hear the work of a modern veteran.
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12 of 12 people found the following review helpful:
5.0 out of 5 stars
A masterpiece. . .but will America listen?, February 9, 2000
Tina's 10th solo album is truly one of her best. I say "one of" because I doubt that any follow up album can match the intensity and publicity involved with the comeback of "Private Dancer" (PD). This, of course, is not to say that 24/7 is not worthy of comparison artistically. The album is similar to PD in that there is a wide variety of music and song types that will surely please a wide audience. The album's most inventive song is definitely "Go Ahead." A sultry, modern song that combines rauncy lyrics with a pop-electronica-like music arrangement (listen to the pops and wags in the background. . .remind you of Madonna's latest album?). The first single from the album, "When the Heartache is Over" is a great dance tune, very reminiscent of Cher's "Believe." (Coincidence that the first singles from both 24/7 and Wildest Dreams sing about not "missing you"? ). "Don't Leave Me This Way" and "Falling" are great slow tunes, very evocative of her R&B sultry roots. The former, especially, has the makings of a mainstream adult contemporary hit. "Without You," Tina's collaberation with longtime friend Bryan Adams, is excellent and reminds me of the old "rock" Tina singing "Better Be Good to Me" and "It's Only Love." The title track reminds me of Tina's work back in the Ike and Tina days, especially in the intro riff and her wailing at the beginning of the song. Overall, the album has very strong lyrics and very inventive sounds combining the "usual" Tina sounds with newer, more modern sounds to give it a fresh edge. I highly suggest purchasing this album and cross my fingers that America will embrace this artist yet again instead of jumping on the "artist of the week" bandwagon mentality that seems to perpetuate in American music-goers.
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