Lulu Albums (10)
What The Critics Say
Can anyone really have expected much of a new album by Lulu in 2004? Forty years after she shot to stardom in England and 37 years after she did the same -- briefly -- in America, she would seem to be part of the fraternity of older English popsters who periodically step into the studio for another go at recording, without too much heavy lifting. So how come she's giving 103-percent or more on Back on Track? And how come the title of this 2004 album is strangely appropriate? The look, as she peers out from the inner fold of the inlay card on the CD, is the same kind she gave us in 1964 -- the synthesized drums are something new, but otherwise, that raspy, bluesy voice competing with the electric lead guitar sound is not at all different from the 17-year-old who carried the Isley Brothers' "Shout" up the U.K. charts and parlayed it into a television and movie career. "Keep Talkin', I'm Listening" is the single and the lead-off track, but Lulu acquits herself well on "Now You Love Me," with its ringing guitar accompaniment, and plunges into harsher territory on "Slow Motion," a hard-rocking track that's a special surprise coming from the 56-year-old pop star. Then she moves into balladry with "Could I Be More Blue" and fills out the music's aching lyricism, and follows it with the even slower, softer, lovelier "All the Love in the World." The rest of the record is hard, loud rock & roll broken up with a pair of guitar-driven ballads, "Roll the Dice" and "Sentimental Heart," and ending on a luscious mid-tempo rocker, "Where the Poor Boys Dance," that could have been a single. There are no notes and the credits are printed ridiculously small, but there are lyrics that are readable, and the music is good enough that any flaws in the packaging are incidental. ~ Bruce Eder, All Music Guide
'Little Soul in Your Heart'
Release Date 8/30/2005
Tracks 11
Label Globe
See Album Tracklist and Review
'Don't Take Love for Granted'
Release Date 1/1/1979
Tracks 10
Label Rocket
See Album Tracklist and Review
'Heaven & Earth & the Stars'
Release Date 1/1/1977
Tracks 11
Label Chelsea
See Album Tracklist and Review
What The Critics Say
Since Lulu's most soulful qualities had usually been repressed or smothered by MOR-conscious material and production, this 1970 album seemed to have all the right ingredients for a blue-eyed soul triumph along the lines of Dusty Springfield's late-'60s LPs. The same label that midwifed those Springfield sessions was now doing the same for Lulu, matching her with backing by the Dixie Flyers, the Sweet Inspirations, and the Memphis Horns. Atlantic honchos Jerry Wexler, Tom Dowd, and Arif Mardin produced; the material included compositions by Gary Bonds, Leiber-Stoller, Randy Newman, and Bacharach-David. Yet the results, as is so often the case when the menu seems tasty, were rather underwhelming, the sums failing to add up to the parts. It's not at all bad, just unexciting. The songs aren't special enough, the arrangements never catch fire, and there are a couple ill-advised detours into cheery pop tunes by the Beatles and Bee Gees. But it's not all bad timing; Lulu herself never seemed to let it all hang out and belt as she had occasionally in the past, except for a few funky moments. ~ Richie Unterberger, All Music Guide
What The Critics Say
Lulu in Muscle Shoals, with Duane Allman on guitar? It's just too bad somebody went a little wild with big-band and orchestra arrangements, for with these songs and a small combo, this could have been really fine material. Blame can go to the producing triumvirate, but also to her husband. During this stage of Lulu's career she was married to Maurice Gibb of the Bee Gees, who seems to have had a habit of luring artists into recording near-muzak, with the "near" added out of a sense of politeness. For this to be happening in the musically gritty atmosphere of Muscle Shoals, with not only Allman but three other hot guitarists on board, is practically cause for criminal proceedings. Lulu still has that thick, soulful voice, but at times the way it sits on the arrangements may make the listener think of an Anne Murray record. On the positive side, the cover of the Bee Gees' "Marley Purt Drive" is a rollicking version of one of the Gibbs brothers' best, and largely forgotten, songs. Miracles are done with the warhorse "Mr. Bojangles," between the bluesy guitar licks and the intoxicating surprise that Lulu is actually pulling it off. Then again there is "Feelin' Allright," which should have been great but instead sounds like a high school stage band warming up. ~ Eugene Chadbourne, All Music Guide
What The Critics Say
One thing is for sure, producer Mickie Most sure knew hot to make a certain style of pop record. He could mix together slick touches such as horn and MOR-style string sections with revved-up psychedelic guitar or funk bass, and that is basically what he does on this somewhat unnoticed album by the personable British songstress. She failed at chart success with any of the tracks on this album, perhaps because the material is a bit too subtle. Much thought seems to have gone into the selection of songs, showing the wide range of the singer as she takes on British invasion rock, Bob Dylan, rhythm and blues, and jazz-style saloon singing that winds up somewhere between Peggy Lee and Karen Carpenter. The choice of covers is really very good, each one winding up somehow preferable in the Lulu-ized version for a variety of reasons from over-familiarity with the original to the superiority of her vocal chops. The album kicks off with a splendid run at "Show Me" by the mighty soul singer Joe Tex, then it is right into her version of Dylan's "The Mighty Quinn," maybe the best version of this song that has been recorded. Listeners may think they are entering a gold mine at this point, but the album does have its veins of pyrite as well. ~ Eugene Chadbourne, All Music Guide
'From Lulu ... With Love'
Release Date 1/1/1967
Tracks 12
Label Parrot
See Album Tracklist and Review
What The Critics Say
Rush-released by Parrot to capitalize on the success of "To Sir With Love," this album may have been deceptively titled -- it doesn't include "To Sir With Love," and the material dates from the mid-'60s, before she switched labels to Epic. But it's nonetheless a pretty good cross-section of her early sides, which saw her concentrating on rock and R&B rather than orchestrated pop ballads. Besides the British hits "Shout" and "Leave a Little Love," it has Bert Berns' "Here Comes the Night," which she recorded before Them's hit version; "I'll Come Running," one of her raunchiest tracks, which features Jimmy Page on guitar; "Surprise, Surprise," an unlikely cover of an obscure Rolling Stones tune; and good gutsy covers of the Knickerbockers' "Lies," Jerry Butler and Curtis Mayfield's "She Will Break Your Heart," and Van McCoy's "Take Me as I Am." ~ Richie Unterberger, All Music Guide
