Labelle Albums (6)
What The Critics Say
Given the state of reunion albums, the average rate of success is usually one in ten if that; ergo, Labelle's first offering since 1976's Nightbirds could have been a stone disaster. It's not; in fact, it's far from it. The trio of Nona Hendryx, Patti Labelle, and Sarah Dash assembled a crew of kickin' producers with real pedigrees: Kenny Gamble and Leon Huff, Lenny Kravitz (is there a bigger retro boss?), Kit Lambert and Hendryx. The one nod to the kids (who probably won't get it anyway) is the Wyclef Jean-produced leavin' jam "Rollout," on which he appears (why on earth he felt he needed to place AutoTune on a Labelle record is beyond imagination -- it's irritating to vintage fans). That isn't to say this is a set of old-school sounding production, but more that the updated sound feels more organic and warm, and thank God the disc is not loaded with guest appearances or ham-fisted duets. Some cuts are a little obvious, such as "The Truth Will Set You Free," with its 1970s anthemic socio-political "us" vibe -- but if 2008 isn't the year of African-American empowerment, with Barack Obama being elected the 44th president of the United States, then there isn't one. Better are the drenched-in-strings soul groovers like "Candlelight" that opens the set. When the backing vocals kick in on the chorus and bridge, it's like it's 32 years ago! Yes, really. "Dear Rosa," with Ronnie Drayton on his subtle but funky wah-wah guitar phrasing, sets up a powerful anthemic tribute to Rosa Parks. Add that B-3 and it sends chills. Dexter Wansel arranged "Tears for the World," that features amazing vocal performances even if its lyrics leave a bit to be desired. The closing cut is Cole Porter's "Miss Otis Regrets," produced by Lambert. This is a surprise, because it was actually recorded 38 years ago and features performances by the late Keith Moon on drums and the late Nicky Hopkins on piano! That said, it sounds seamless when juxtaposed with the other tracks on the set. Vocally, this trio hasn't slipped a notch -- particularly Labelle. Indeed Back to Now exceeds expectations and will no doubt satisfy most fans of the trio's fantasies and hopefully -- thanks to the ultra sleek "Rollout" -- hook a few new ones to boot. ~ Thom Jurek, All Music Guide
What The Critics Say
The finest of Labelle's original albums, Nightbirds was recorded in New Orleans with funkmeister Allen Toussaint handling the production chores and, one assumes, members of the Meters taking care of the session work. Worth the price of admission for the Bob Crewe-written "Lady Marmalade" alone, the album veers between the strutting New Orleans, horn-laden singles and more mainstream pop material. ~ Rob Bowman, All Music Guide
What The Critics Say
While Patti LaBelle was the vocal force behind the group bearing her name, Nona Hendryx was providing the material that Patti would use to deliver her energetic sound. Of the eight numbers presented, Hendryx is credited with six. "Get You Somebody New" stayed on the Billboard R&B charts for nine weeks, peaking at number 50. "Isn't It a Shame" only managed to peak at a disappointing number 18 after 15 weeks on the charts. The drama, compassion, and delivery easily justify its worthiness as a number one song. However, it remains a popular composition. While LaBelle were heavily costumed, to say the least, songs like the psychedelic "Get You Somebody New" fit the trio's extravagant look, whereas numbers like the sensusous "Come into My Life," the breathtaking "Isn't It a Shame," and the gospel-propelled title track "Chameleon." bring on a stark contrast, but a welcome one. On every level of creativity, LaBelle, the group, are as diverse as these selections. ~ Craig Lytle, All Music Guide
What The Critics Say
These days, very few A&R people at major labels have the patience to really develop an artist; if an album doesn't sell, the artist will most likely be dropped. A lot of smaller independents are still willing to stick around for several albums if they believe in the artist, but because major labels have such high overhead, their A&R people often believe that sticking with an artist through several modest sellers is a luxury they cannot afford. And that's a tragedy because a lot of potential goes unrealized; imagine how much poorer 1970s R&B would have been if Earth, Wind & Fire, LTD, the O'Jays, the Gap Band, or Funkadelic had called it quits because their first album wasn't a million seller. Those artists needed time to develop, as did Labelle. It took Labelle (as opposed to Patti LaBelle & the Bluebelles) several albums to make the transition from decent to remarkable, and the trio was hardly an overnight sensation. What was true of 1971's Labelle is also true of 1972's Moon Shadow; this LP isn't as conceptually brilliant as Nightbirds, Phoenix, and Chameleon would be, but it's a solid, heartfelt effort that is never short on guts. Whether the threesome is embracing songs by Nona Hendryx and Sarah Dash or giving the Who's "Won't Get Fooled Again" and Cat Stevens' "Moon Shadow" sweaty soul makeovers, this gospel-drenched LP is about as gritty as it gets. ~ Alex Henderson, All Music Guide
What The Critics Say
Released in 1971, this self-titled LP was the first album that Patti LaBelle, Nona Hendryx, and Sarah Dash recorded under the name Labelle. Never again would they use the name Patti LaBelle & the Bluebelles, and that's just as well; since the group had a new sound and a new image, it made sense to have a new name. And make no mistake: Labelle was determined to forge ahead in 1971. While pop considerations were a high priority for Patti LaBelle & the Bluebelles, soul considerations define Labelle: a tough, gritty, gospel-drenched effort along the lines of Aretha Franklin, Ike & Tina Turner, and Etta James. Produced by Vicki Wickham (the group's manager) and Kit Lambert, this decent, if uneven, LP isn't in a class with subsequent gems like 1974's Nightbirds and 1975's Phoenix. Nonetheless, Labelle's performances are generally enjoyable, and the group brings plenty of passion and sincerity to original material as well as covers of Laura Nyro's "Time and Love," Carole King's "You've Got a Friend," and the Rolling Stones' "Wild Horses." In 1971, the best was yet to come for Labelle, both creatively and commercially. But despite its imperfections, this LP made it clear that the trio had great potential. ~ Alex Henderson, All Music Guide
