Beverley Knight Albums (3)
What The Critics Say
Hoping to build on the momentum gained by her Mercury Music Prize-nominated breakthrough album, Who I Am, Beverley Knight's fourth effort abandons her soul credentials and goes straight for the commercial pop jugular. Working with an array of collaborators including Coldplay's Chris Martin and Robbie Williams' ex-songwriting partner Guy Chambers, Affirmation clearly has one eye on dominating the airwaves as much as her biggest hit, "Shoulda Woulda Coulda," did two years previously. Indeed, lead single "Come as You Are" should have no problems finding its way onto radio playlists, its swirling keyboards, psychedelic guitars, and almighty chorus creating a Lenny Kravitz-meets-Pink pop/rock stomper. The inclusion of a cover, "Keep This Fire Burning," originally a hit for Robyn in her native Sweden, also signifies Knight's intentions -- its exuberant catchy pop is a million miles away from her urban roots but much more likely to score her a number one hit. Best of all is the Chris Martin-penned "The First Time," which shows that his dalliance with R&B on Jamelia's "See It in a Boy's Eyes" was no fluke. A gorgeous, gospel-inspired ballad, it's far removed from the epic stadium rock his day job is usually associated with. Lyrically, Knight is as daring as ever. "No One Ever Loves in Vain" is a subtle piano-driven confessional about the loss of a friend, while the melancholic "Salvador" addresses AIDS, showing that Knight's commercial sensibilities haven't hampered her ability to tackle big issues. Inevitably, with the attempt to cover several bases, Affirmation may alienate fans of her more soulful first two records. The over-produced likes of "Tea and Sympathy" and "Till I See Ya" dilute Knight's impassioned vocals, while "Supasonic" is perhaps one Prince homage too far. But overall, there are enough gems on here to suggest that Affirmation may achieve the commercial success it so obviously craves. ~ Jon O'Brien, All Music Guide
What The Critics Say
British soul woman Beverley Knight has yet to be fully embraced by the record-buying public despite possessing perhaps one of the most phenomenal voices around. The disappointing chart performances of her first two albums, The B-Funk and Prodigal Sista, cemented the belief that while her talent is unquestionable, her material just isn't strong enough to propel her into the mainstream. This, however, should all change with Who I Am, a well-produced collection of contemporary R&B songs that is just as confident and self-assured as her more celebrated U.S. contemporaries. The feisty first single, "Get Up," sets the tone immediately, allowing Knight to show off her astonishing vocals amidst some slinky dancehall rhythms. Elsewhere, the funky "Same" channels '80s Prince just as convincing as OutKast, while "Whatever's Clever" is the kind of powerhouse R&B that En Vogue innovated in the early '90s. The ballads are just as strong. "Fallen Soldier," a tribute to murdered teenager Stephen Lawrence, is a stripped-down acoustic number filled with raw emotion; "Bestseller Mystery," with its slide guitar, sounds like a lost blues classic; and "Beautiful Contradiction" is a soothing soulful duet with Stevie Wonder sound-alike Musiq (Soulchild). Occasionally, the album veers into the kind of bland MOR territory that has often blighted Britain's more recent soul singers (Mica Paris, Shara Nelson). "Hurricane Jane" is rather monotonous, tune-free neo-soul, and "Gold"'s dated-sounding production positions Knight as more of a lounge singer than an accomplished R&B talent. But overall, Who I Am is still a colossal leap. After seven years of being an also-ran, Knight now has the material to back up her world-class vocals. The big time surely awaits. ~ Jon O'Brien, All Music Guide
