Jody Watley Albums (8)
'Midnight Lounge'
Release Date 1/1/2001
Tracks 13
Label Shanachie Entertainment
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What The Critics Say
Proving once again that showcasing a diva's vocal abilities is only as good as the talented producers behind the mixing board, Midnight Lounge is a fine return to form and finds Jody Watley going back to her deep clubbing roots. It's a refreshing change of pace, forgoing the commercial club sounds her career has been synonymous with and replacing them with some of the finest deep house producers in the genre. Midnight Lounge makes no bones about its identity right from the immediate onset, enlisting deep house veteran Dave Warrin to produce two of the album's most sensual tracks ("Whenever" and "Photographs") and setting up longtime collaborators Masters at Work (with special guest jazz legend Roy Ayers) for the most upbeat track on the album. Positively charged lyrics set among lush production are the norm for each track, giving it more of a feeling of something to listen to after a big night out or during a great night in. And while the uptempo/downtempo sequencing of songs can be a bit abrupt, the quality more is than compensatory, with very little filler (perhaps the cover of Peter Gabriel's classic "Don't Give Up" is unnecessary) to speak of throughout. Bonus remixes appear at the end of the CD and retain the high quality set forth throughout the initial record. A welcome return to one of dance music's most prominent divas. ~ Rob Theakston, All Music Guide
What The Critics Say
Jody Watley's popularity dipped drastically in the '90s, forcing her into the position of making her Atlantic debut, Flower, something of a comeback record. Watley decided to go all the way with the record, hiring an all-star cast of producers -- Malik Pendleton (SWV, Mary J. Blige), Phil Galdston (Vanessa Williams), Masters at Work, Dwayne Wiggins (Tony! Toni! Tone!), Derrick Edmondson, Bryce Wilson (Groove Theory) -- that help bring her sound into the mainstream of the late '90s. Flower presents a more mature Watley, one more concerned with well-crafted, seductive urban soul than dance-pop. It's an attractive sound and, surprisingly, her vocals are rich and nuanced, giving the music the treatment it deserves; she's never sounded better or more assured. Since Watley and the production are both alluring, it's a shame that the songs aren't deserving of such loving treatment. Only a handful of cuts, such as the Pendleton-produced single "Off the Hook," are actually strong, memorable songs, but that doesn't hurt the album considerably because the sound of the record is appealing on its own terms. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
If any one 1980s superstar suffered an undeserved fall from grace it was Jody Watley, who, at one point in time, rivaled only Madonna in popularity. As the 1990s took shape, her popularity took a drastic downward turn, to the point where, by 1995, she had to release her fifth solo album, Affection, on her own label. The album came and went quickly, without scoring any hit singles. In retrospect, however, it stands the test of time pretty well, although it does lack the urgency and immediacy of her dance-era hits. Affection is an engaging collection of slow burning, mid-tempo, jazzy R&B, quite different from the music that had made her a star. "(We Gotta Be) Together," the summery "All Night Love Affair," "Pride and Joy," "The Beat Don't Stop" (which she sings in her lower register, similar to 1987's "Still a Thrill"), and the title track all fall under the aforementioned musical categories. The real gem, however, is "The Way (Pts. 1 & 2)," which is a smoldering, seductive, ten-minute jam, as good as any of her golden age output. A couple tracks, such as "Faithful" and "Stay," fall quite flat, but, overall, this is a fine, quality album, entirely undeserving of the fate it received. Additionally, there is a live jazzed up version of her classic "Lookin' for a New Love" that closes out the set. ~ Jose F. Promis, All Music Guide
What The Critics Say
Jody Watley, who was one of the biggest American music stars at the end of the 1980s, saw her streak come to an abrupt end with the release of her fourth solo album, Intimacy, which, years later, still manages to sound fresh and undated. She toned down the rhythms (a little bit) which had made her so famous, and instead recorded an album ripe with mid-tempo, jazz-influenced grooves, which shine on the set's first single, "Your Love Keeps Working On Me"," which peaked at an embarrassing number 100 on the American pop charts. Intimacy, which is quite a varied album, begins with the harmonica-enhanced summer jam "Workin' on a Groove." The album's second track is the set's second single, "When a Man Loves a Woman," which is a seductive, meandering, spoken word, early-1990s anthem which, among other things, warns of the dangers of AIDS. A couple of over-long and unremarkable ballads weigh Intimacy down towards the end, but, other than that, the album is a definite treat. Other highlights include the house track "Ecstasy," the funky, riff-laden "Are You the One?," the slow burning R&B jam "To Be With You," and the gorgeous, soaring ballad "Too Shy to Say." Who is to say why this album, and Watley's fabled career, floundered so badly -- perhaps this style of music didn't vibe with the grunge and hip-hop that ruled American pop music in the early 1990s, or perhaps it was due to lousy marketing. In any case, Intimacy is a fine, well-rounded album that has managed to stand the test of time. ~ Jose F. Promis, All Music Guide
What The Critics Say
Watley's sorely overlooked junior opus is the standout of all her '80s and '90s output. Combining the best of both of the artist's musical worlds, Affairs of the Heart supplies a handful of energetic dance numbers and a plentiful selection of quiet storm ballads. The result is a set that's much thicker and deeper than 1987's Jody Watley and 1989's Larger Than Life, while free of the lagging that occurred on 1993's Intimacy and 1995's Affection. Watley goes from etchy R&B-funk ("I Want You"), to classy house ("I'm the One You Need"), to inspirational pop ("It All Begins With You"), to 1960s Motown-inspired soul ("Stolen Moments"), all the while sounding enthusiastic and engrossed in the material. Co-writing nine of the album's 11 cuts, she is equally impressive in her lyrical scope: The moving honesty of "Until the Last Goodbye" centers around a troubled relationship on the verge of breaking up a family, while the core message of the distinctive title track is achieving peace and humility through the power of music and listening to one's heart. Additionally, Affairs of the Heart is notable for the fact that, even with five producers on board (including Watley herself), it maintains a solid consistency in its entirety. Nearly every song on the album stands strong on its own, too, making Affairs of the Heart the singer/songwriter/producer's finest effort. ~ Justin M. Kantor, All Music Guide
'You Wanna Dance with Me?'
Release Date 10/26/1989
Tracks 9
Label MCA
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What The Critics Say
An album of remixes. ~ Bil Carpenter, All Music Guide
What The Critics Say
The former Shalamar member and goddaughter of Jackie Wilson followed her hit debut album with a solid second entry, although it was much more uptempo and dance-dominated. Watley secured a huge pop and R&B hit with "Real Love," and "Friends" was a New Jack Swing number with rap contributions from Eric B. & Rakim. "Everything" was another Top Ten pop and R&B success. While the thinness of Watley's vocals and the preponderance of predictable beats seemed to indicate that trouble lay ahead, she happily took the gold record certification for the album. ~ Ron Wynn, All Music Guide
What The Critics Say
After achieving considerable success as a dancer and member of popular R&B/rock group Shalamar, Jody Watley staged a spectacular debut as a solo artist with her self-titled album. This set not only scored five hit singles, but also a Grammy for Best New Artist. For a few years, Jody Watley was almost as hot as Madonna, scoring major pop, R&B, and dance hits. Of all her albums, her debut was the most successful (and the most dance-oriented), and produced some of the most memorable dance hits of the decade. Included here is "Lookin' for a New Love," which spent four weeks perched at number two on the U.S. pop charts, as well as the Top Ten hits "Don't You Want Me" and "Some Kind of Lover." However, both those songs were remixed when released as singles -- hence, the versions on this album are inferior to the single mixes (but those versions can be found on her Greatest Hits). Also on this set is the stunning second single, "Still a Thrill," which wasn't a big pop hit, but featured Watley singing in her lower register, and ranks as one of the funkiest and oddest dance tunes of its time. This album also contains another minor pop/R&B hit, "Most of All," as well as a forgotten duet with George Michael (who was also at the top of his game at the time), "Learn to Say No." This album really doesn't possess any duds (or ballads), with other album tracks like "Love Injection" proving almost as infectious as the singles. This album clearly ranks among the artist's best, but if one desires the hit versions of most the singles, then one would be better off with Greatest Hits. ~ Jose F. Promis, All Music Guide
