on August 4, 2013
I had a chance to meet Chante and walk the red carpet with her in late April (photo: [...] Ms. Moore is an elegant, spicy mix of strong personality with a powerful, extraordinary voice and command of the stage. Unlike Mariah (their vocal talents are equal), Chante has tremendous stage presence. Her LIVE performances are much stronger than studio work, so I would strongly suggest that a LIVE album & DVD come out next.
This album (I purchased several copies) and so glad that it went to #1 on the iTunes R&B charts ... is excellent in its choices, in the variety of vocal arrangements and the depth behind the simplicity of the lyrics. The production value is a bit more on-budget than she deserves, Chante only gets better with time and deserves the best!
On & On really needs to be remixed for a single release, Don't Make Me Laugh & Always prod into melodrama territory, yet the infectious Talking In My Sleep delves into the depth of human interaction and minus the hiccup loop, is a brilliant lovable track that makes me want to groove in my car.
Even though I'm not Christian, Jesus I want you is a Classic to be! It will be as big a classic as Mariah's Christmas CD (for both -- all faiths can enjoy). It's just that the live versions are so much more potent and need to be shared with the world. Also I would release a secondary version titled 'Darling I Want You' as a jazz/pop classic.
Cry Me a River may be a slight tad overdone, but no one can do it like Chante and I give it an A+
Favorite tracks: Talking in my Sleep, Jesus, I want you (LIVE), Cry Me a River, On and On.
Really want a JAZZ album after the LIVE CD/DVD.
Chante - you are a class act and a genius of art!
on September 12, 2013
When I found out that Chante Moore had released new material this year I was very excited. After watching her on R&B Diva's I realized that I really liked her as person and artist. I have a few of her earlier singles with Old School Lovin and Love's Taken Over as some of my favorites of all time. I never knew about her range and I was exposed to so much on this album alone. At only 10 tracks, it's easy to get captured by her talent plus the songs are very original and catchy. The CD opens with Baby Can I Touch Your Body, a smooth R&B joint that takes me back to the 90's. Song 2 is Talking In My Sleep. I love this song. She's doing her high vocals in the background very softly bringing innocence to such a naughty track. The beat and production on this track is fantastic and should be receiving massive air play during the quiet storms. ALONE is a jazzy/inyoface joint. I like it, I can rock to it but something is missing on this song. Don't Make Me Laugh is a reflective classic song, I hear a lot of growth in her singing even though I have only been following her off and on since 1992. Doctor Doctor is by far the most fun song on the album, my only problem is that it's only 2:55. Why so short?!?!? If I ever see this woman in concert, I hope she performs this song at the end of her show extended. I love how I get elements of Missy Elliot, TLC, Donna Summer and Tina Turner. It's a great song and she's so true to Funk on this jam, just wish it was a little longer. Mrs. Under,Stood is a slow song about wising up, not my favorite but I understand it. I love how she sounds on this song, I just don't love the song. On and On is a party jam and again while Chante sounds Amazing, this song just doesn't do it for me. Giving you My Always is a beautiful couples song that I won't mind hearing for years to come at several weddings. She values relationships so much and it really shows on this song without sounding sappy. Jesus, I Want you is the most beautiful song I've heard sung by Chante Moore. This is what makes Moore is More so phenomenal. I want the world to hear this song. She kills it, she nails it, she becomes this song. Her voice is just like an instrument on this song, just beautiful. Cry Me A River is a wonderful jazzy remake. I love jazz and it fits Chante's voice so well. This really is her genre, her voice just shines. She doesn't need much over the top distraction on her songs. Her voice always seems to be the focus which is rare these days. At only 10 songs, Chante delivers a very lovely album that old fans and new fans alike will enjoy for a long time. A very worthwhile purchase. Out of a total of 50 I rated this album 39.5 Giving her 4 stars and very much deserved. Go out and get it and Enjoy it!
on October 13, 2013
With this latest release, Chante is coming outta her bag a little. She still got the sexy, sensual side and heartbreak songs on lock, but now, she's got a gospel cut and two head-boppers on her roster, and they all sound good! Chante is on it with this disc! She has one of the most blessed voices in this business, and going for another label to record and release was a good move for her. She did it and she did it well, and I totally loved it! GO CHANTE!!!!
on November 18, 2013
I have known about Chanté Moore for nearly two decades, the entire duration of her career, but only in a casual sense. I couldn't really name any songs other than "It's Alright" and "Love's Taken Over" that she sang. I knew that she had a mellifluous-sounding voice and the ability to go into the whistle register. Again, this was only in a casual sense. I only started to pay attention to her in the past two years, when one of my friends continued to send me links of her performances on Youtube. (He's a bit obsessed with her and is probably her biggest Canadian Jewish fan.) It was then that I knew that there was something magical about her. And after watching her on "R&B Divas: LA" and seeing interviews during that time, she confirmed it. So when I found out she released a new album, I made a point to download it (through Xbox Music) to finally evaluate her myself.
I am going to review every song on her album here. Mind you: I am a tough critic of singers that bill themselves as singers as opposed to performers. I sing myself and record music in the studio. I have what I'd like to think a dynamic voice and also can use my whistle register as easily as Chanté can. I mention this as a caveat that if she has a particular song that's overproduced or is in not-so-good voice, I'll say it openly. Lord knows have been there before.
"Baby Can I Touch Your Body?
Very mellifluous song, smooth flowing throughout and definitely was written and recorded to accentuate the stellar aspects of Chanté's remarkable instrument. The song is sexy without being sleezy. Chanté moves through it delicately in many parts, possibly to really give the sensuality of the song time to soak into the listener--and it works. Vocally speaking, I did immediately note that Chanté's gotten older. Her voice is thicker than it used to be and languishes over notes as opposed to having the agility of her early 20s. (This is the normal maturation process of the voice, though.) I also noted that her vocals aren't pitch perfect in here like they are normally, probably associated with age. There are parts when she goes minimally flat or seems to not know what to do with a certain note. It doesn't make the song bad at all; to the contrary, it gives the song a human, un-airbrushed feel.
"Talking In My Sleep"
The song starts out with Chanté's effortless use of her whistle register to harmonize with the track. What I enjoy about her use of the whistle register is that it never strikes me as demonstrative. (Well, except maybe when she's singing "It's Alright" live and singing the last three minutes in whistle-register adlibs, which is a sight to behold if you have not seen it.) She's expressive with it, and it always serves to further the meaning and feel of the song. The rest of the song is good chest-voice singing, with belts littered throughout. Vocally, she's on par here and really showing that she doesn't strain to sing. She just takes the microphone, opens her mouth, and allows the notes to flow out freely.
I will say that I was little jarred by the lyrics. Not because I am naïve and don't think that things that she talks about in the song don't happen in reality, but because it was Chanté singing them. She's not being filthy in the song, but she's talking about having fantasies of being with someone else even though she's currently with someone. These fantasies apparently materialize when she's sleeping in the bed with her partner. Embarrassing. It's a little odd to hear HER sing it, but, like she's said in interviews, this is the reality of how humans can be. Kudos.
Frankly, I don't care for this song. I don't like the track in the least. Vocally, she's in good form here. However, it seems like something that she was required to sing by her label to sound contemporary. The result was that it didn't sound authentic at all; it sounded like a 40-plus-year-old woman trying to compete with the likes of Rihanna. It didn't work. Let the Katy Perrys of the world hold the slot.
"Don't Make Me Laugh"
This is one of my favorite tracks on the album. Oddly enough, I was jarred by her singing about reality in "Talking In My Sleep," but I was thrilled that she's talking about the shenanigans that can take place in a relationship that's clearly past its due date, but the people remain in it to keep up appearances. I have been in that situation before, so I suppose it was great for me to hear that someone that I thought was inaccessible had gone through the same thing. When I originally saw the title, I thought it was going to be the part of the album where she mocks Kenny Lattimore. Instead, she's simply expressing how she didn't feel loved but felt compelled through her own convictions to keep up the image of a perfect marriage. It's not directly derisive of Kenny at all; it's more of her telling a story about how she felt. Vocally, she's on par again--of course. I was particularly impressive with her creative use of her whistle register to simulate laughter near the end of the song.
Like her other up-tempo songs, I didn't initially care for this track. It was too much of a party anthem and not really a showcase of her singing ability. But as I continued to listen to the song, I started to realize that not every song is meant to be a vocal moment du jour. She's allowed to get out of control and not worry about every note. She's allowed to just get out there and have fun. And that's just what she did in this song. If you're hurting for whatever reason, "Chanté's one pour away," as she sings in the song. Awesome! A particularly stellar part of this song is her scale from hum to upper chest belt to low sixth-octave whistle note to C7. And she does it twice. #Dead.
"Mrs. Under Stood"
I don't have much to say about this song other than that I hated it. I didn't like her vocals. I didn't like the tempo. I didn't even understand what she was singing about. Again, it's another track that sounded to me like she had to sing it as part of a contract. Skip.
"On and On"
We're on a roll here. Another track that seems like she has to sing it. The song doesn't work for me at all. It's also one of the key moments in the song when you can tell she's older, because she's trying to belt notes in here that she used to be able to belt in her 20s and 30s. She's clearly straining. And why is Da Brat even in here? Seriously? Moving on.
"Giving You My Always"
An absolutely beautiful song, with vocals that really showcase what Chanté's capable of if you give her a functioning microphone and a good beat to sing to. I enjoyed the lyrics, even if they were a little syrupy for my taste. What I really liked in here was her showcasing the use of her head voice, which is something that I don't hear her do a lot in her repertoire. (The few times that I have heard her hit head-voice notes were not all that impressive.) She's really using all registers. It's not that she doesn't do that in other tracks; it's just that you can really hear them throughout the song: strong belts (with a little raspiness thrown in), smooth head notes, breathy vocals, and a solid whistle note near the end.
"Jesus, I Want You"
My absolute favorite song on the album. When I first heard this track, I actually cried. I'm not a religious person in the least, but the feeling that she sang this song with was astounding. I don't know how religious Chanté is, but if she were an atheist, you would never know it from how she sings this song. She sounds like she believes every word of it. She sounds like she's been through hell and back with men and never got satisfied. And she finally found one that wouldn't leave her for anything. He would accept her and her flaws, without condition. How many of us in life don't want to connect with someone who has that type of unconditional acceptance?
Her vocals, however, took the front and center stage. This woman can SANG--plain and simple. There are points near the end where she doesn't even sound like she cares about vocal perfection and just gives it her all, belting the crap out of notes and trilling sky-high notes that only angels and birds can hit. The last whistle note in here really showcases how easy it is for her sing in the whistle register. It's probably one of the most controlled displays of whistle register I have seen in years. She hits a strong G6 and trills down into an almost hushed whistle tone. She has skills like none other. This is a song that makes me angry that someone like her does not get the recognition that she deserves, while you have someone like Britney Spears Pro-Tooling her way to the bank. Dumb.
"Cry Me A River"
This is a classic song, and Ms. Moore's voice does it justice. This is the kind of music that she's known to sing fluidly. Her improvisation and jazz-riff skills are on full display here. She goes off-key as she's supposed to with jazz singing. She demonstrates incredible control over her instrument overall and manages to pop in an effortless whistle note randomly. She's in fine form here.
Overall, this was stellar album and a stellar effort by Chanté. She's well into her 40s and is still singing like a hummingbird. In fact, she's never sounded better despite having to sing in a lower key. She seems more comfortable with herself and her instrument. She seems more comfortable with taking risks and occasionally failing. She's okay with who she is, and she wants us to be, too. Bravo!