Debbie Gibson Albums (9)
'Colored Lights: The Broadway Album'
Release Date 10/28/2003
Tracks 13
Label Varese
See Album Tracklist and Review
What The Critics Say
Deborah Gibson's theatrical soul has often made close brushes with her pop persona. Even while singing all that '80s nostalgia, there were traces of a young Broadway starlet seeping through. In between previous pop releases, Gibson acted on and off Broadway in just about everything (notably Les Miserables, Disney's Beauty and the Beast, and opposite Betty Buckley in Gypsy). Here, at last, is her no-nonsense "Broadway Album." For those outside walking distance to the venues in which she performed, this will be the first full-on introduction to Gibson as theatrical star. The track selections are wise, ranging from familiar ("On My Own") to obscure (the upbeat Latin pop song "Raise the Roof"), with traditional and modern imprints stamped according to her taste. She pads the album with "Sex," self-penned doo wop from an upcoming project, which works as an interlude. Poor fans who fear that she is headed down a dark tunnel that leads to a public kiss with Madonna should listen carefully to her lyrical winking: "Dad's '59 Chevy or Grandma's Ford Fairlane...anyplace is fair game." Now, the question is, where will Gibson's career lead from here? She wrote some amazing material on 1995's Think With Your Heart, some of which could easily stand against these classics. The focal point of this album is Gibson -- the white light is all hers. The very fine orchestrations are secondary to her vocals, there are no duets, and backup singers are in limited supply. But it works. She is at ease, aims to please, and obviously enjoys every bit of what she's doing. The showstopper "They All Laughed" casts a sweet, frenetic spell and is vocally and instrumentally the highlight of the album -- most particularly when she chuckles, rumbles, and squeaks at the finish. There are two things requested of listeners in order to fully enjoy this project: that they be fans of Gibson and fans of theater. If you fit the playbill, you're in luck. ~ Peter Fawthrop, All Music Guide
What The Critics Say
"M.Y.O.B... Mind your own business" chant the jump-roping playground children -- complete with double-dutch sound effects -- on the title track of Deborah Gibson's seventh solo album. The music here is proof positive that Gibson is living in a self-contained fantasy world; for that reason it is a lot more intriguing than the standard pop of today. Hear the striking similarity in style between this music and Jennifer Lopez and Britney Spears. Marvel at the lyrics, which are at once childish (see above-mentioned children) and provocatively adult ("Plenty of girls would crawl into your bed/are you the guy willing to get into my head"). Brace yourself for the fact that this '80s teen idol is now 30 years old and following the trends of 2000s teen idols. "What is wrong with that?" you may ask. Nothing necessarily. In fact, if anyone other than Gibson were singing this material, exactly as she sings it here, it would make the Top Ten. You get the feeling that no big label or producer wants to lay their hands on jump-starting an old career when there are so many new faces (and lesser talents) to scout. Maybe that is why Gibson has been left to her own defenses, taking on the role of self-management. There is something eerie in the way the album tries to pin different targets: children, teenagers, and adults, dividing the album into separate styles which ultimately clash. An example of that peculiarity is the remake of Tony Orlando's "Knock Three Times." Gibson says that it was one of the first songs she learned to play on the piano. It is actually sung as a duet with Tony Orlando with vocals awkwardly strung together by what could best be described as "African techno-dance stuff." The voices on the song (while in fine form) sound removed from the music, which is distant and creates an out-of-synch feel. Deborah Gibson has nothing to prove to anyone. She knows the music industry like the palm of her hand (which makes a nice debut on the CD's inner photo shoot). The album was released by Golden Egg Records, which is Gibson's own label, and the album was produced by Diane Gibson, her mother. Gibson is a true businesswoman, always eager to take on a Broadway role, a television project, or a music album. With M.Y.O.B. she has placed herself in the realm of top trends, something she has not done so perfectly for quite some time. The title track, written by the Alessi Bros., nearly hits the "Electric Youth" mark with its "run but you can't hide" message and beat. The splendid dance tunes "Your Secret" and "What You Want" are R&B spiked with top-notch choruses. "Down That Road" is a great self-penned ballad, one of her best efforts. The real surprise on the album is "Wishing You Were Here," which is a classic Debbie godsend of pop. It is as cheesy and giddy as her famous '80s music with the addition of a heavenly backup choir and penetrating chorus. Deborah Gibson, who has a superb voice throughout, sounds best when that voice is supplied with a powerful gospel choir. Nothing else on the album reaches the closeness of that wonderful "drinking lemonade on a Summer afternoon" feeling than the point between the bridge and the third chorus of "Wishing." More, please. ~ Peter Fawthrop, All Music Guide
'Moonchild'
Release Date 4/18/2000
Tracks 17
Label Sony International
See Album Tracklist and Review
What The Critics Say
If you are old enough to remember the '80s, then you probably remember Debbie Gibson's pop music. Her "Electric Youth" was everywhere. At the young age of only 16, Debbie saw the release of her debut album, Out of the Blue. Electric Youth came next, and then Anything Is Possible. All three albums earned the young singer/songwriter a number of hits and pushed the blue jean-wearing girl next door right into the center stage of music stardom. Though she slipped from the spotlight, she continued with her career in a quiet way, adding acting on Broadway to her impressive resumé. Well, it's the new millennium, and Debbie is back, but now she's all grown up, calling herself Deborah and leaving the sweet-as-soda-pop image behind for something a little more adult and -- at times -- spicy. Deborah's sexy rebirth began as early as 1994, when she portrayed a stripper in her "Losin' Myself" music video. She also raised a few eyebrows with her treatment of the song "Shock Your Mama." On this 2000 release, Moonchild, she offers fans a mixture of ballads and dance numbers. This recording originally hit the market in 1997 and was simply titled Deborah. This new version offers a couple of extra songs and a remix. Some of the better received tracks on this album include "Ode to a Would Be Lover," "Only Words," "Naturally," "I Can't," and "Don't Rain on My Parade." ~ Charlotte Dillon, All Music Guide
What The Critics Say
After a brief flirtation with both alternative rock and adult contemporary balladeering, Debbie Gibson decided it was time to return to her pop roots with her sixth album. The only difference is, this time she's in control. Forming her own label, Espiritu, and billing herself as Deborah Gibson (evidently to convey that she is indeed mature), she turns in a surprisingly winning effort with Deborah. Although the record still suffers from inconsistent material, it's nice to hear her play dance-pop again, and her ballads are generally more melodic and memorable than those on Think With Your Heart. It may not be a commercial success on the level of Out of the Blue, but Deborah is a considerable artistic comeback. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Mention the name Debbie Gibson and you're likely to elicit either a derisive snort or embarrassment from your conversant about ever having owned a Gibson album. Chances are that anyone who falls into the latter category -- and there are several million of them -- bought her debut, Out of the Blue. While Out of the Blue does possess the slick, processed dance-pop production and squeaky-clean innocence of most '80s teen pop, it stands out from the competition due to Gibson's talent as a singer, musician, pop songwriter, arranger, and even producer. Five of this album's ten tracks hit the Top 40, with four of those going Top Five, and Gibson's youthful exuberance and energy shine through infectiously. Despite her reputation, it's some of the best teen pop you're likely to hear. ~ Steve Huey, All Music Guide
What The Critics Say
Debbie Gibson and Tiffany were often compared to one another in the late 1980s, and in 1990, there was even more reason to compare them when both singers tried to shed their teeny-bopper images and record more mature, less sugary albums. While Tiffany turned to new jack swing and urban contemporary with unconvincing and weak results on New Inside, Gibson had a bit more artistic success mining the dance-pop waters on Anything Is Possible -- but only a bit. Though some of the material is fairly decent (including "Another Brick Fall" and the Madonna-ish "It Must've Been My Boy"), most of it is pedestrian, homogenized and quite forgettable. And as the thin-voiced Long Islander approached 20, the fact remained that she didn't have a great range by any means. ~ Alex Henderson, All Music Guide
What The Critics Say
Following up her enormously popular debut, Out of the Blue, Debbie Gibson sought to grow from the teen fan base she had established, while not alienating those who made her a household name. The result is slickly produced teen pop, like her debut, but it's not as squeaky clean or as compulsively likable. That is not to say it's a bad album. "Lost in Your Eyes" is a pretty ballad that showcases her songwriting skills, her clear voice, and her talent on the piano. "Electric Youth" is a bouncy, frenetic song that is ridiculously sing-alongable, but at the same it is time hard to really identify with it unless you're 12 (or at least young at heart). "We Could Be Together," in which she basically tells her friends and family to go fly a kite, is practically anthemic in its joy at taking a risk on love: "I'll take this chance/I'll make this choice/I'll give up my security/for just the possibility/that we could be together/for a while." It's teen pop at its best: it makes you feel young, it makes you want to sing, it makes you want to fall in love. "Silence Speaks (A Thousand Words)" is a beautiful ballad about lack of communication that is vastly different from any of her other work, with a flute solo and lyrics that many adult songwriters can't nail. The same can be said for "No More Rhyme," a minor hit about a relationship's first hurdle. Gibson really exercised her writing chops on those songs, but much of the rest the album is only passable filler; "Who Loves Ya Baby?," "Helplessly in Love," and "Over the Wall" do little more than give her voice a reason to shine, while "Shades of the Past" is excruciatingly grating. ~ Bryan Buss, All Music Guide
