Anita Baker Albums (8)
'A Night of Rapture - Live'
Release Date 6/8/2004
Tracks 12
Label Rhino
See Album Tracklist and Review
What The Critics Say
It's been ten years since Anita Baker fans got any new material from their diva, but the wait was not in vain, as 2004 found Baker signing a contract with Blue Note and recording a new album. So if Baker mania is going to break out among the cosmopolitan set again, her old Warner Bros. home must feel they've just got to have new Baker product on the shelves. Here, Warner Bros. hands the singer over to their reissue imprint Rhino. The label could have done her fans a big favor if they reissued her 1987 VHS One Night of Rapture on DVD, but instead they lifted the soundtrack and put it on this release. This should by no means be your first Baker purchase, but at least the fans get something for their decade of patience. ~ David Jeffries, All Music Guide
What The Critics Say
Holiday titles live a bit outside an artist's standard discography, but if you look at Christmas Fantasy as a follow-up to the 2004 comeback My Everything, it continues that album's looser feel, less concerned with the charts and all the better because of it. There are only nine tracks on Anita Baker's Christmas Fantasy, but the album still clocks in at 45 minutes, with most tracks letting things comfortably develop past the five-minute mark. Part of the reason for this is the band. With George Duke, Larry Carlton, Joe Sample, the underrated Ricky Lawson, and other top-notch folk involved, it would be a shame not to let these boys play, but as much as they get to vamp, it's still Baker's album, 100 percent. Her increasing love of scat singing finds her interacting with the musicians in cool urbanite fashion, free but neither languid nor shamelessly bold. The exciting Crescent City take on "Frosty the Snowman," "Frosty's Rag," may be the standout track at first glance, but it's the cool interaction between singer and band on more subdued numbers like "O Come, All Ye Faithful" with the Yellowjackets and "Moonlight Sleighride" that makes the album worth returning to each holiday season. With its sparse, nearly haiku lyrics, "Moonlight Sleighride" is far and away the best of the three original numbers here, with "Family of Man" finishing second due to its mostly non-holiday lyrics that are clumsily tied to Christmas with a tacked-on final verse. A distant third, "Christmas Fantasy" feels too forced, but all is forgiven when Baker closes the album with an effervescent "My Favorite Things," putting her own spin on a song despite all the "definitive" versions that have come before. Kudos to Baker for avoiding anything sugary or diva and delivering on the promise she makes in the liner notes. "I wanted Mom & Dad to have a recording that we could listen to with a glass of wine after the kids were in bed," she states. Christmas Fantasy is not only that but more evidence Anita Baker's Career, Pt. 2 may be more sumptuous than Pt. 1. ~ David Jeffries, All Music Guide
What The Critics Say
Anita Baker's My Everything is her first studio outing in a decade. Family life seems to have claimed most of that time, as the album's last cut, "Men in My Life," seems to indicate. Baker co-wrote seven of the album's nine songs (one is a reprise of the title track), authored the aforementioned tune, and assisted producer Barry J. Eastmond in the arrangements. The disc's first single, "You're My Everything," is indicative of the album's sound: finely wrought and executed urban adult soul. Most of the set falls into this category, too, with the exception of "Like You Used to Do," a duet with Kenneth "Babyface" Edmonds that walks a line between it and new-school groove. Another cut, the stellar "I Can't Sleep," offers Baker in full-on jazz mode, careening through a skittering and swinging arrangement with a full horn section pushing the groove; it showcases Baker's ability to croon, and she comes very close to Betty Carter's scat. Some may be frustrated that, after such a long time, Baker doesn't push the envelope more stylistically. This may be true in terms of the material itself, but that's not necessarily a bad thing. Right down the line, Baker delivers on what she does best. But in one sense she has expanded her palette. On these cuts, most of the rhythm section's tracks were cut live from the floor, and on three, the vocals were as well. This gives the album a reedy immediacy that contrasts sharply with the rest of her studio catalog. This is a worthy return, qualitatively standing head and shoulders above most everything else in its class. ~ Thom Jurek, All Music Guide
What The Critics Say
Baker has been making solid, if unspectacular, records for several years now, trying to recapture the grace of Rapture. Despite several good songs and uniformly strong vocals, Rhythm of Love doesn't have enough flair to win back a mass audience. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Though Anita Baker got some airplay out of The Songstress, that promising solo debut didn't bring her financial security. In fact, Baker was earning her living as a legal secretary in her native Detroit when she signed with Elektra in the mid-'80s. Elektra gave her a strong promotional push, and the equally superb Rapture became the megahit that The Songstress should have been. To its credit, Elektra made her a major star by focusing on Baker's strong point -- romantic but gospel-influenced R&B/pop ballads and "slow jams," sometimes with jazz overtones -- and letting her be true to herself. Rapture gave Baker one moving hit after another, including "Sweet Love," "Caught up in the Rapture," "Same Ole Love," and "No One in This World." Praising Baker in a 1986 interview, veteran R&B critic Steve Ivory asserted, "To me, singers like Anita Baker and Frankie Beverly define what R&B or soul music is all about." Indeed, Rapture's tremendous success made it clear that there was still a sizeable market for adult-oriented, more traditional R&B singing. ~ Alex Henderson, All Music Guide
What The Critics Say
On Rapture and Giving You the Best That I Got, Anita Baker embraced a blend of technology and "real instruments" -- a definite contrast to the completely high-tech approach of so much '80s and '90s R&B. But on Compositions, producer Michael J. Powell moved even closer to a '70s-like approach to R&B -- recording Baker's vocals live in the studio, employing a live rhythm section, and avoiding drum machines altogether. What stayed the same was the type of material. Once again, Baker rejects hip-hop, techno-funk, new jack swing, and other '80s and '90s black music styles in favor of a consistently relaxed soul/pop mood. Though there's a lot to admire here -- including "No One to Blame," "Soul Inspiration," and "Whatever It Takes," a song Baker wrote with Gerald LeVert and Marc Gordon of LeVert -- Baker's approach was beginning to sound formulaic in 1990. Clearly blessed with a magnificent range and lots of soul, Baker needs to experiment and take more risks. And one way to go just might be jazz. The torchy and captivating "Lonely" shows that she has the ability to record a first-rate jazz album (if Elektra would okay such a project for her). Imagine Baker backed by James Moody, Tom Harrell, Chick Corea, Ray Brown, and Grady Tate. ~ Alex Henderson, All Music Guide
'Giving You the Best That I Got'
Release Date 1/1/1988
Tracks 8
Label Elektra
See Album Tracklist and Review
What The Critics Say
The sizeable following that Anita Baker acquired with Rapture proved quite receptive to the only slightly less appealing Giving You the Best That I Got -- an album that's quite similar to its predecessors. Though not quite on a par with The Songstress or Rapture, Best is far superior to most of 1988's uninspired R&B releases. Instead of tampering with Rapture's consistently romantic and mellow soul/pop approach, Elektra brought back that album's producer, Michael J. Powell, and kept her at the top of the charts with such sleek yet earthy fare as "Just Because" (whose harmonies bring to mind producers Jimmy Jam & Terry Lewis, but lack the hip-hop elements they're quick to employ), "Priceless," the haunting "Good Love," and the title song. Much of Baker's music has contained jazz overtones, but on the Brazilian-influenced, slightly bossa nova-ish "Good Enough," Sarah Vaughan's influence becomes even more apparent -- and indicates that she is making a tremendous mistake by not recording outright jazz. ~ Alex Henderson, All Music Guide
What The Critics Say
Trends in African-American music changed considerably between Anita Baker's first taste of national exposure in 1979 (when she was a member of Detroit soul band Chapter 8 and sang lead on the hit ballad "I Just Wanna Be Your Girl") and her debut solo album, The Songstress, in 1983. While 1979's black music charts were full of large funk bands, standup vocal harmony groups, and disco divas, rappers and techno-funksters like the System were very much in vogue in 1983. Instead of following trends, Baker excelled by doing what she does best: gospel-influenced, '70s-type soul/pop with jazz overtones. The Songstress, released by the small Beverly Glen label and reissued by Elektra in 1991, wasn't the mega-hit her next album, Rapture, would be. But the Sarah Vaughan-influenced singer began to build a following with such honest, heartfelt ballads and "slow jams" as "No More Tears," "You're the Best Thing Yet," and the caressing "Angel." A sweaty taste of gospel-drenched funk, the invigorating "Squeeze Me" is atypical of the ballad-oriented Baker -- although she definitely shines at this faster tempo. Indeed, Baker's solo career was off to a most impressive start with The Songstress. For those who savored Rapture and Giving You the Best That I Got, The Songstress is also essential listening. ~ Alex Henderson, All Music Guide
