Miki Howard Albums (9)
What The Critics Say
Another album heavy on covers from Miki Howard, Pillow Talk trails the singer's previous release, Three Wishes, by five years. Five years is a long gap -- even when considering appearances on albums by Norman Brown and Gerald LeVert -- and even some of her most devout fans might feel a little shortchanged by the shortage of original material here. Howard's voice is in fine form, but she doesn't always sound inspired by the songs, and the arrangements tend to be lukewarm, whether they involve drum loops or smooth jazz stylings. The highlights include versions of Ann Peebles' "I Can't Stand the Rain" and Boz Scaggs' "Lowdown," as well as the title track. ~ Andy Kellman, All Music Guide
What The Critics Say
When the 21st century arrived, Miki Howard wasn't as big or as visible as she had been in the '80s and early '90s. But the former Side Effect vocalist still had her hardcore followers, and those are the people she obviously had in mind when she recorded Three Wishes for the L.A.-based, Concord-distributed Peak label. Recorded in 2000 and released in 2001, this pleasant, if unremarkable, CD isn't a radical departure from Howard's earlier solo efforts. Instead of trying to make herself relevant to the hip-hop-minded R&B scene of the early '00s, Howard sticks to her guns and emphasizes adult-oriented quiet storm music. There are no duets with R. Kelly or Pink, no collaborations with Destiny's Child -- Howard knows that her audience is the Anita Baker/Luther Vandross/Regina Belle crowd, and she wisely caters to that audience. So she deserves credit for being true to herself even though most of the material she has to work with on this album isn't mind-blowing -- likable, yes, but not mind-blowing. As it turns out, the album's best track is jazz instead of R&B/pop; "Kiss of a Stranger," a moody, haunting jazz-noir offering that employs Yellowjackets bassist Jimmy Haslip and former Weather Report drummer Alphonse Mouzon, is the only thing on Three Wishes that is excellent instead of merely decent. Three Wishes won't go down in history as one of Howard's more essential releases, although her hardcore fans will probably want to hear it anyway. ~ Alex Henderson, All Music Guide
What The Critics Say
Urban darling Miki Howard dishes ten piping-hot entrees as she joyously romps through live versions of songs that thrust her in the urban spotlight, including a gutsy update of the standard "Imagination" that would make Nancy Wilson applaud; "That's What Love Is," a duet with Gerald Levert; chart-dancers "Ain't Nuthin' in the World" and "Love Under New Management"; and crowd favorite "Until You Come Back to Me." Only ten songs, but she sings them as if she's promoting new singles and doesn't affront the paying audience with teasing medleys. ~ Andrew Hamilton, All Music Guide
What The Critics Say
Miki Howard tries her hand at jazz repertory with this Billie Holiday tribute album. Howard was smart enough to sing the songs in her own style rather than try to emulate Holiday. Howard mostly scores on this disc, turning in fine, sometimes triumphant performances on "Solitude," "My Man" and "Don't Explain." Only on "Strange Fruit" does she miss the boat; she's too mannered and pristine on a brutally painful number. In addition, the label made this the ninth, rather than last, track on the disc. The bemused, ironic qualities of "I Want To Be Your Mother's Son-In-Law" seem out-of-place following a tune about vicious inhumanity. But those two decisions aside, Miki Howard has given Billie Holiday a solid tribute and ably displayed her own skills in the process. ~ Ron Wynn, All Music Guide
What The Critics Say
Howard's big voice is in good form here, and much of the material -- provided by such people as Kenny Gamble and Leon Huff, David Foster, and Billie Holiday -- suits her. The very best of the songs ("Ain't Nobody Like You," "Release Me") are also among the very best she's recorded. Still, there's a sameness running through the grooves that becomes a bit oppressive by record's end. A varied effort with some good tunes buried. ~ Michael Gallucci, All Music Guide
What The Critics Say
Since making her debut as a solo artists in 1986 with the smash single "Come Share My Love," Miki Howard no doubt had her eyes set on attaining that number one song. This album proves to be the facilitator of that quest. There were four featured singles on this set. The first release, the uptempo dance cut "Ain't Nuthin' in the World," grooved its way up the Billboard R&B charts to number one. The Chicago native stayed in the Top Three with "Love Under New Management" and "Until You Come Back to Me (That's What I'm Gonna Do)." The former is testimonial expression from the soul songstress while the latter is a re-make of the Aretha Franklin classic. Respectively, they peaked at number two and three. The fourth release was the pleading, mid-tempo number "Come Back to Me." Cresting at 53 on the charts, it too is an excellent selection. An honorable mention goes to "I'll Be Your Shoulder." A duet with one of the consummate soulman of the day, Gerald Levert. This is a superb effort by Miki Howard. ~ Craig Lytle, All Music Guide
What The Critics Say
Miki Howard continuing building on the good rapport and reputation established with her solid debut album. She got more hits with the song "Crazy" and a fine duet with Gerald Levert, and also did extensive touring, demonstrating that her excellent vocals weren't merely the result of studio manipulations. ~ Ron Wynn, All Music Guide
What The Critics Say
Former gospel singer and Side Effect member Miki Howard made a fine debut in 1986 with this album. Her version of "Imagination" showed that she could sing jazzy pop, while she also got a huge R&B and urban contemporary hit from the late-blooming title cut. ~ Ron Wynn, All Music Guide
