Linda Eder Albums (10)
What The Critics Say
The utter brilliance of the renowned vocal great's first official foray into rock-edged country music should shutter for good the adage that an artist must stick to a single genre to be marketable and successful. Over the years, the world got so used to her glowing interpretations of Broadway standards--and her keen ability to carry on the grand traditions of Judy Garland and Barbra Streisand--that any deviation might have been seen as risky or crazy. But the truth is, as the singer puts it, "This isn't so much a departure as it is me getting back to who I really am." The colorful mix of material (from the rousing, gospel-influenced "Back to Life" by superstar pop songwriter Kara DioGuardi to Eder's own explosive, very personal blues-rocker "Waiting for the Fall") and loose and high-spirited arrangements reflect the kind of music that moved her as a child, when she first started playing the guitar and writing songs. Musically, she and producer Billy Jay Stein back up with great integrity and passion her assertion that stepping into the ballgown and singing standards is like playing a role, while this rootsy music is more natural for her. Although the album was released by the great jazz label Verve, songs like the uptempo country jam "Pieces," the jangling "Prayer for Love," and the largely acoustic ballad "If You Believe (The Way I Do)" would find a joyful home on mainstream country radio. Beyond the rootsier songs, Eder engages in some magical cover versions of the heart-tugging parent to child classic "If I Could," Joni Mitchell's "Both Sides Now" (done with equal parts wistfulness and dreamy atmosphere) and, more graceful yet, the Indigo Girls' folk-pop gem "Ghost." While Eder will always be welcome performing with fellow Broadway aficionados Michael Feinstein and Marvin Hamlisch, this stellar journey of the heart should find her making reservations to take the stage at the CMA Festival in Nashville any year now. This is a side of the singer that should stick around for a long time. ~ Jonathan Widran, All Music Guide
'By Myself: The Songs of Judy Garland'
Release Date 10/4/2005
Tracks 11
Label Angel
See Album Tracklist and Review
What The Critics Say
Almost exactly one year after her last foray into the pop music realm with Gold, Linda Eder returns to the Broadway style that made her a sensation with this 13-track tribute to the Great White Way. Tackling such famous songs as "On the Street Where You Live" from My Fair Lady, "Some People" from Gypsy, "Edelweiss" from The Sound of Music, and "I'll Be Seeing You" from Right This Way, Eder puts her own spin on some of her favorites while retaining the emotional draw that made them popular in the first place. A rather eclectic set, one might question why Eder would choose two songs from the same musical (Man of La Mancha) and one ("Gold") from a show that is still in the works (not to mention that it was the title song from her previous release), when there are so many other selections that her fans, no doubt, would love to hear her cover. Also troublesome is that two recordings ("Man of La Mancha" and "Unusual Way" from Nine) were taken from Eder's 1997 release, It's Time, causing the listener to wonder if time restraints created the need to duplicate, or if these songs are so close to Eder's heart that she felt compelled to include them on this collection. Either way, it really doesn't matter. As the album title states, this is Eder's Broadway, and style and substance make up for any false steps on this outing. A timeless talent that will far outlive many of those taking the undeserved spotlight on the Top 40 charts. ~ Daniel Malich, All Music Guide
What The Critics Say
There are songs that just shouldn't be covered anymore, as timeless as they may seem. "Here Comes the Sun" is one of them, and Linda Eder seems to have made a major misstep in opening her album Gold with it. Her version is down-tempo, saccharine, and overly produced. It is a shame, because the rest of the album doesn't seem to follow suit. Taken as a whole, Gold may be one her strongest efforts, as she pours a lot of personal emotion and energy into a mix of classic pop standards and show tunes authored by her husband, Frank Wildhorn. Even songs with relatively simple lyrics, like "Until I Don't Love You Anymore," become touching with Eder's clear, passionate delivery. The album's second cover song, "Son of a Preacher Man," hits the mark a little more squarely than the first. Eder relishes the opportunity here to belt out the lyrics in full voice without needing to sound too pretty and manages to be a little bit sexy at the same time. Fans of Eder's previous show tune-laden works might find her journeys into blues, country, and rock styles here a little jarring, but this album represents growth for Eder, even if every song doesn't individually impress. ~ Stacia Proefrock, All Music Guide
'Christmas Stays the Same'
Release Date 10/17/2000
Tracks 13
Label Atlantic
See Album Tracklist and Review
What The Critics Say
Sensational vocalist Linda Eder has a resonance so beautiful, she has become one of America's most endearing performers. From her stint with Broadway's Jekyll & Hyde and various television appearances, Eder's seasonal effort Christmas Stays the Same (2000) is most appropriate. Her vocal dynamics featured on her sophomore album It's No Secret Anymore (1999) made Eder's warm compositions a favorite among critics, so naturally her Christmas album does the same. She handpicks her own holiday favorites such as "Santa Claus Is Coming to Town," "Silent Night," "Little Drummer Boy," and "Ave Maria for a delightful collection of sonic mastery. She is assisted by a full orchestra on several tracks, making Christmas Stays the Same even more exquisite. It's a pleasing release for any fan of holiday music or follower of theatrical singers and composers ~ MacKenzie Wilson, All Music Guide
'It's No Secret Anymore'
Release Date 9/21/1999
Tracks 14
Label Atlantic
See Album Tracklist and Review
What The Critics Say
Linda Eder's It's No Secret Anymore celebrates her pregnancy and features tracks from the musical Havana, which her husband/collaborator Frank Wildhorn wrote specifically for her. The album ranges from ballads to big band to Latin styles and includes "Anything Can Happen," a special lullaby written by Wildhorn and lyricist Jack Murphy; and "One For My Baby," the Arlen/Mercer tune made famous by Frank Sinatra. ~ Heather Phares, All Music Guide
What The Critics Say
Linda Eder's third album demonstrated her growth as a singer; for the first time on one of her records, you could listen through whole songs without being reminded of Barbra Streisand. She remained largely dependent for her material on composer Frank Wildhorn, but at least on this occasion, for the most part, Wildhorn worked on a consistent set of songs with the same lyricist, Jack Murphy; they came up with a varied collection not dominated by generic romantic ballads, though there were a few, especially toward the end. (There were also Wildhorn songs from his musicals Jekyll and Hyde, The Scarlet Pimpernel, and The Civil War.) Murphy's words approached wit on occasion, even if Wildhorn's music continued to hew to pre-rock pastiche, so that Eder, swimming in string and horn charts, still seemed caught in a time warp circa 1955, even when she was dropping references to RuPaul and the Internet. And she continued to be arrogant in her choice of covers, this time trying out "Over the Rainbow." Nevertheless, the news here was her development of a distinct vocal identity: finally, you could just say that Linda Eder was a great singer, not that she was a great singer who sounded like... ~ William Ruhlmann, All Music Guide
What The Critics Say
Linda Eder's second album was in effect a follow-up to the 1992 studio cast album of composer Frank Wildhorn's The Scarlet Pimpernel, even repeating a track, "I'll Forget You," from that release. Wildhorn co-produced And So Much More with the singer and wrote or co-wrote eight of its 13 tracks. Eder and Wildhorn conceived of her as a personality singer in the tradition of Barbra Streisand (her vocal timbre inescapably recalled Streisand, but so did her phrasing, which meant the similarity was intended), and the songs tended to be lush, dramatic ballads that gave her plenty of opportunity to emote. For a change of pace, Wildhorn threw in a couple of neo-swing exercises. The duo boldly announced their ambitions with their choice of covers, usually standards closely identified with major singers, such as "The Man That Got Away" (Judy Garland), "All the Way" (Frank Sinatra), and "Bridge Over Troubled Water" (Art Garfunkel). Eder had the pipes, but not the seasoning, to carry off such appropriations, while Wildhorn's stylized, generic songs, seemingly beamed in from an alternate universe where rock & roll never happened, had only the range, not the distinctiveness, to showcase her effectively. You could see what they were going for; they just didn't quite get it. ~ William Ruhlmann, All Music Guide
