Chanté Moore Albums (5)
What The Critics Say
Following two Top Ten R&B albums with husband Kenny Lattimore, Chanté Moore goes alone for the first time since 2000's Exposed. Her fifth solo album, Love the Woman, won't catch anyone off guard, especially those who heard the Moore/Lattimore albums. It sounds like a natural extension of Exposed, in fact, even though it clearly had a lower production budget (she's now on an independent) and is not aiming at the pop chart; while Tim & Bob, "Tricky" Stewart, Bryan-Michael Cox, and Jermaine Dupri collaborated on Exposed, the names here -- like George Duke and Raphael Saadiq -- aren't quite as mainstream-oriented. Moore switches between directly addressing issues within mature relationships and reflective material that is often closer to life coaching than soul searching. There's enough space left for some seduction, too, but since many of the slow-pulse productions run together, with little to distinguish themselves from one another, it can take a couple listens to grasp which is which. It doesn't help that the only truly uptempo track, "Can't Do It," does not fit into this smooth and polished set in any way, with its vinyl crackle, overbearing horn blurts, touches of unnecessary vocal effects, and lyrics Moore does not seem to be feeling all that much. ~ Andy Kellman, All Music Guide
What The Critics Say
There must be something in Atlanta's water table that makes for such funky producers, singers, and performers. Outkast, Jermaine Dupri, TLC -- if Philly was ground zero for soul in the '70s and New York for hip-hop in the '80s, it's safe to say that at the turn of the 21st century, Atlanta, GA, was the capitol for the burgeoning hybrid of those two genres. Exposed, which was executive produced by Dupri and recorded mainly in Atlanta (the exception being the Jimmy Jam and Terry Lewis-produced "Love's Still Alright," which was recorded in L.A.) makes a bid to capture some of that trademark funkiness. Moore has a great set of pipes, a mix of the throaty take charge style of Toni Braxton and the soft vulnerability of Janet Jackson, an undeniable sexiness, and a real emotional conviction that lends the songs an authenticity absent in many current releases. Still, with all that she has going for her, Exposed only manages to be a hit and miss record. When Moore hits, as in the opener "Straight Up," she makes sexy music with so many melodic twists and turns one gets happily dizzy from keeping up. But several tracks, despite being technically proficient and musically sound, don't really go anywhere, and even the Jam/Lewis track is admittedly a bit boring and antiseptic. With some grittier material, though, Moore could take a rightful place among Hotlanta's funkiest. ~ Steve Kurutz, All Music Guide
What The Critics Say
This Moment Is Mine finds Chante Moore at the top of her game, crafting an alluring contemporary soul album that manages to avoid most of the cliches of the genre. Not that it strays from formula, however. As a matter of fact, the 14 songs that comprise This Moment Is Mine unmistakably follow the pattern for urban soul, whether it's the slow grooves of the ballads or the midtempo dance cuts. The difference is delivery. Moore never shouts or engages in histrionic caterwauls -- she keeps her focus on the song at hand, delivering each line as if she has lived it. That, combined with the sublime production (most of it by Jimmy Jam and Terry Lewis) and an excellent selection of songs, makes This Moment Is Mine a first-rate urban soul album. It may not be perfect -- it does have some filler -- but it's certainly more alluring than most of its peers. ~ Stephen Thomas Erlewine, All Music Guide
