Atlantic Starr Albums (10)
What The Critics Say
Considered one of the top R&B bands since the genre's inception, this effort is primarily one pop number after another aimed at the adult contemporary market. Since the release of their 1985 classic "Secret Lovers" (#3 Billboard pop charts), Atlantic Starr has geared much of their material toward the crossover market. This project follows suit with the exception of a few cuts. The leadoff single "I'll Remember You" struggled on the Billboard R&B and pop charts, peaking at #58 and #55 respectively. Aside from its semi-catchy chorus, the song's ignition stalls. "Let's Just Sneak Around" has a soulful, urban feel enhanced by Wayne Lewis' gritty delivery. "Everybody's Got Summer," which pairs David Lewis and featured female vocalist Aisha Tanner, has an attractive beat, but it is charged by a sample from Young-Holt Unlimited's "Soulful Strut." The one song that comes close to that magic the group created in their heyday is "Lovin' You All Over Again." The two brothers duel this one out with entertaining lyrics and climaxing in a dramatic vamp. ~ Craig Lytle, All Music Guide
What The Critics Say
After being absent from the charts for over two years, the quartet returns with Love Crazy. The title track, featuring the light tenor of David Lewis and reminiscent of Soul II Soul's rhythms, topped off at number seven after 18 weeks on the charts. Finding much success with their soft and easy pop tunes, they scored an even bigger hit with the second single, "Masterpiece." Similar in style and arrangement to "Always" from the All in the Name of Love album, "Masterpiece" topped the charts at number three. However, the group was not so fortunate with "Unconditional Love," another pop tune, which labored on the charts for just nine weeks, peaking at the number 38 spot. Among the unreleased singles, this album offers a little something for everyone. For house music lovers, "Come Lover" is a crowd pleaser. For those who recall the group's classic R&B ballads from years past, "Looking for Love Again" and "Girl, Your Love's So Fine" are vintage Atlantic Starr classics led by Wayne Lewis' raspy baritone. The synth and funk-driven dance track "You Hit the Spot" features vocalist Rachel Oliver's lead. Her vocal presence expands as the song develops, but the song does not give her enough room to showcase her talent. The song that should have been a hit is "My Special Lover." With its catchy hook and rhythmic keyboard loop, this is a well-written number led by David Lewis' brashy tenor, with which he passionately expresses the lyrics' sense of urgency. ~ Craig Lytle, All Music Guide
What The Critics Say
Prototype classy love ballads, dance-pop, urban contemporary production/arrangements, and one or two above-average leads. Atlantic Starr has shuttled personnel often but never tampered much with its basic formula. The group does it well, and there's little here that's disturbing, poorly performed, or routinely performed. Porscha Martin made a good replacement for Barbara Weathers, who was a good replacement for Sharon Bryant, and, well, you get the idea. ~ Ron Wynn, All Music Guide
'All In the Name of Love'
Release Date 1/1/1986
Tracks 12
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
While the timeless radio ballad "Always" is the centerpiece of this album (not to mention a few of the more weepy wedding receptions out there), Atlantic Starr's 1987 effort, All in the Name of Love, does feature some solid additional work from the longstanding urban contemporary group. The uplifting "Let the Sun In" features the smooth lead vocals of David Lewis and Wayne Lewis, and percolates with lightly funky bass and inspired percussion. Meanwhile, "You Belong With Me" takes a darker lyrical turn, but is still a solid slice of sanitized, late-'80s urban radio groove. The album could have used more vocals from the talented Barbara Weathers, but it's still a well-appointed record that offers fans much more than just the Whitney-flavored single. ~ Johnny Loftus, All Music Guide
What The Critics Say
In the mid-'80s, a lot of downsizing was taking place in R&B. Many of the large soul/funk bands that had emerged in the '70s were going high-tech, which meant cutting way back on horns (or even eliminating them altogether) and emphasizing keyboards and drum machines. Atlantic Starr, like Cameo, felt that they had to do some serious downsizing in order to remain competitive. In 1983, they still had nine members; when As the Band Turns came out two years later, it was down to five. This 1985 release found Starr unveiling a new quintet lineup that consisted of Wayne Lewis on lead vocals and keyboards, David Lewis on lead vocals and guitar, Jonathan Lewis on keyboards and trombone (mostly keyboards), Joseph Phillips on percussion, and newcomer Barbara Weathers (who had replaced Sharon Bryant) on lead vocals. As the Band Turns was not only Starr's first post-Bryant album -- it was also the first album they had recorded since parting company with producer James Carmichael (who had produced their last three LPs). This time, the producers included Wayne and David Lewis or Joey Gallo and Wardell Potts Jr. But despite all those changes, Starr was still quite recognizable. Most of the material is excellent, and that is true of everything from the dreamy "Silver Shadow" to the electro-funk gem "Freak-A-Ristic." Without question, Bryant's departure was a major loss for the band. But it wasn't a fatal blow, and Weathers shows herself to be a talented replacement on "Silver Shadow," as well as the ballads "If Your Heart Isn't in It" and "Secret Lovers" (a major hit). Arguably the last great album that Atlantic Starr provided in the '80s, As the Band Turns demonstrated that there could be life after Sharon Bryant for the East Coast outfit. ~ Alex Henderson, All Music Guide
What The Critics Say
This was their biggest album to date, although it actually didn't have as many good songs as its predecessor. But "Touch A Four Leaf Clover" was strong enough to assure Sharon Bryant that it was time to leave, and she departed after this album. The backings, compositions, production, and arrangements are tight and expertly designed. ~ Ron Wynn, All Music Guide
What The Critics Say
Atlantic Starr hit its commercial peak in the late '80s, when the bland, insipid adult contemporary ballad "Always" soared to number one on both the pop and R&B charts. That song put Atlantic Starr in the Whitney Houston/Lionel Richie realm -- in other words, people who associate Atlantic Starr with "Always" think of them as a crossover act. But from an R&B standpoint (as opposed to a pop/adult contemporary standpoint), Atlantic Starr provided their best work in the early '80s, when Sharon Bryant was still on board and the East Coast residents were being produced by James Carmichael. Released in 1982, Brilliance was the second of three albums that Carmichael produced for Atlantic Starr -- and it is also one of the band's finest and most essential releases. There is nothing not to like about this LP. The soul ballads "Your Love Finally Ran Out" and "Let's Get Closer" are excellent, and so are up-tempo funk/dance numbers like "Sexy Dancer" and "Love Moves" (which features Wayne Lewis on lead vocals and has a Slave/Steve Arrington/Aurra type of appeal). Brilliance, however, is best known for Bryant's soaring performance on the smash hit "Circles," which is one of those songs that is great on the dancefloor but is equally appealing if you want to simply sit down and listen to it. Bryant also excels on the single "Love Me Down," which wasn't as big a hit as "Circles" (it reached number 14 on Billboard's R&B singles chart), but is still a fine medium-tempo item. If you have only a casual interest in Atlantic Starr and only want to have a few of its albums in your collection, Brilliance should definitely be among them. ~ Alex Henderson, All Music Guide
What The Critics Say
Both creatively and commercially, Radiant was a major step forward for Atlantic Starr -- and the person they can thank is James Carmichael. This 1981 release was the first album that Carmichael produced for the band, whose two previous LPs (Atlantic Starr in 1978 and Straight to the Point in 1979) were decent but not great. Atlantic Starr needed to get to the next level, and Carmichael obviously gave the White Plains, NY, combo the sort of guidance, direction, and constructive criticism it needed to make the transition from decent to excellent. Radiant gets off to an impressive start with the haunting single "When Love Calls," and the material that follows is equally strong. That is true whether Atlantic Starr is getting into sentimental soul ballads ("Am I Dreaming," "Send for Me") or tough, gritty funk ("Think About That," "Under Pressure"). One of the band's greatest assets on this LP is lead singer Sharon Bryant; Carmichael brings out the best in her, and she really soars on "When Love Calls," as well as "My Turn Now" and the hit "Am I Dreaming" (a male/female duet with fellow lead singer David Lewis). But Bryant isn't the only lead vocalist who excels on this record. David and Wayne Lewis are also fine singers; "Send for Me," in fact, boasts one of Wayne's most memorable performances. And once again, Carmichael deserves much of the credit -- he pushed the Lewis Brothers to excel just as he pushed Bryant to excel. With Carmichael's help, Radiant went down in history as one Atlantic Starr's finest and most essential albums. ~ Alex Henderson, All Music Guide
What The Critics Say
These days, most A&R people at major labels (as opposed to indies) no longer believe in honest-to-God artist development -- if an artist's first album isn't a hit, he/she gets dropped. But back in the '70s, major label A&R people were, as a rule, a lot more patient. They were more likely to view the artist as a long-term investment, which is why three- or four-album contracts weren't uncommon -- labels reasoned that if an artist's first or second album wasn't a hit, the third or fourth just might be. Atlantic Starr is a perfect example of a band that benefited from insightful, smart A&R. In the late '70s, Atlantic Starr was a diamond in the rough that needed to be developed -- thankfully, A&M's A&R department was wise enough (and patient enough) to develop the East Coast outfit. One hears a lot of potential on Atlantic Starr's second album Straight to the Point, which Bobby Eli produced at Philadelphia's legendary Sigma Sound Studios. From the funky single "(Let's) Rock 'N' Roll" to the slick "Let the Sprit Move Ya" (which has a Euro-disco flavor) and the soul ballad "Losin' You," this 1979 release is a generally decent (if slightly uneven) sophomore effort. But it isn't fantastic or mind-blowing, and not until 1981's Radiance did Atlantic Starr really start to live up to its creative and commercial potential. In 1979, Atlantic Starr was like a student who was getting Bs and Cs on his/her report card but had the potential to bring home a lot of As -- the potential for excellence was there, and thank God A&M helped the band make the transition from decent to excellent. Although not among Atlantic Starr's essential releases, Straight to the Point is an LP that hardcore fans will find interesting. ~ Alex Henderson, All Music Guide
What The Critics Say
Atlantic Starr was still trying to get its sound together when this, its first album to the hit the charts, was released. The nine-piece band had an impressive showing on the Billboard R&B charts with "Stand Up" and "Keep It Comin'." The former, led by Wayne Lewis, is a hand-clapping affair with a humpin' funk groove. The latter, led by Sharon Bryant and David Lewis, is a decent effort. Respectively, they both peaked at 16 and 49 on the charts. "(I'll Never Miss) The Love I Never Had" is a notable number. David Lewis comes across with a more convincing delivery than on the other selections he is featured on. The most engaging number is "With Your Love I Come Alive," which showcases Porter Carroll Jr. on lead. His tenor is brawny yet agile and his delivery comes with an unrehearsed feel. Wayne Lewis' vocals were still in a developmental stage, and he had not yet grasped that imposing tone he would later master. ~ Craig Lytle, All Music Guide
