Philip Bailey Albums (10)
What The Critics Say
There was a strong jazz vibe running through some of Philip Bailey's sides with Earth, Wind & Fire. On Soul on Jazz, his second release for Heads Up International, co-producer Bailey remakes several jazz standards, some with new lyrics by his son, Sir Bailey. The foray is most successful on Thelonious Monk's "Ruby My Dear," a percussive take on Gene McDaniels' "Compared to What," and Joe Zawinul's "Mercy, Mercy, Mercy." R&B and jazz stylishly intersect on the smooth airy ballad "Unrestrained." Bailey redoes the EWF classic "Keep Your Head to the Sky," giving it a mellow sheen that's close to one of his past cuts, "Children of the Ghetto." On that and his dusky cover of Herbie Hancock's "Tell Me a Bedtime Story" and the loopy "Bop-Skip-Doodle," Bailey flexes his legendary falsetto. More jazz-oriented than Dreams, Soul on Jazz benefits from the sharing of production chores with Myron McKinley, Bob Belden, and Scott Kinsey. The album is definitely on track. ~ Ed Hogan, All Music Guide
What The Critics Say
Legendary falsetto-voiced Earth, Wind & Fire vocalist Philip Bailey invites quite a guest list of smooth jazz stars to this party, which marks a strong adult contemporary turn from his solo gospel recordings. Although he never fails to keep his vocal textures front and center, each solid sax solo here is by another great -- Everette Harp, Gerald Albright, Grover Washington, Jr., and Kirk Whalum -- and Peter White and George Duke spruce up many a harmony line. Randy Brecker even shows up, spinning his flugelhorn around the exotic, tropical Latin percussion textures on a bass-driven spin on "Moondance." When you're dealing with this kind of voice, both brilliant and so familiar from years in the urban world, obviously the recording's success rises and falls based on the material. And while Bailey's mostly going the passionate ballad route -- he also covers Bread's "Make It With You" and Pat Metheny's dreamy "Something to Remind You" -- his eagerness, cleverness, and sincerity in delivery help listeners forget that there's not much tempo change going on here. Eric Huber's vocal production, often contrasting Bailey's high notes with a lower vocal line before easing them together, is also sharp. While there's not much funk, the two glorious changes of pace are Bailey's twist into Bobby Caldwell territory on the quartet-flavored "Masquerade Is Over" and "Are We Doing Better Now," which sounds like classic Earth, Wind & Fire meeting a spacy, retro-soul-minded George Duke. A little more groove next time might be cool, but Bailey's still got enough of the old fire burning. ~ Jonathan Widran, All Music Guide
What The Critics Say
Philip Bailey's self-titled, seventh solo album features some admirable talent, including production by Chuckii Booker, Brian McKnight, and PM Dawn. The album includes a dozen well-produced, light-funk tunes; however, there are no standout tracks as memorable as his earlier hit with Phil Collins, "Easy Lover," or his many great works with Earth, Wind & Fire. ~ Tim Griggs, All Music Guide
What The Critics Say
Philip Bailey's third gospel album. ~ William Ruhlmann, All Music Guide
What The Critics Say
Philip Bailey turned to Nile Rodgers to produce Inside Out, his follow-up to Chinese Wall, and though Rodgers didn't turn it into a dance record on the order of his old band, Chic (the sort of thing he did do to other clients), the result is no more than pedestrian black pop, which is why Bailey's secular solo career ran out of gas at this point and he willingly re-upped with the new edition of Earth, Wind & Fire. He didn't make another secular solo album for eight years. ~ William Ruhlmann, All Music Guide
What The Critics Say
Philip Bailey's second gospel album. ~ William Ruhlmann, All Music Guide
What The Critics Say
Philip Bailey's debut gospel album. ~ William Ruhlmann, All Music Guide
What The Critics Say
At the time Philip Bailey persuaded Phil Collins to produce his second solo album, Chinese Wall, Collins was among the hottest pop stars in the world. The advantage to that, of course, is the exposure it affords, and after the merely modest success of his debut solo album, Continuation, Bailey needed the reflected glory. On the other band, it's hard to shine yourself in such a glare, and although Bailey's name was on the gold-selling hit single "Easy Lover," a duet with Collins that helped the album take off, it's Collins' singing and drumming that one remembers. Elsewhere, tunes like "Photogenic Memory" and "Walking On The Chinese Wall" better represent Bailey's ability to handle a variety of material from ballads to techno dance tracks with his elastic falsetto. Still, Chinese Wall was a gold-selling standoff that made Bailey a solo hitmaker without really establishing him on his own. ~ William Ruhlmann, All Music Guide
What The Critics Say
Expatriate Earth, Wind & Fire vocalist Philip Bailey stepped out on his own with Continuation, his first solo recording. Here Bailey got to explore some less-cluttered grooves than in EWF, and he also sang in his natural tenor rather than being limited to his falsetto. "I Know" received some air and club play, but for the most part the disc was ignored. That's too bad, because several of the songs are engaging R&B. "Vaya (Go With Love)" is the best ballad (Bailey's supposed strength with Earth, Wind & Fire), but the concluding "The Good Guy's Supposed to Get the Girl" and "Your Boyfriend's Back" are the best matches of hook-filled melody and Bailey's soaring voice. ~ Ross Boissoneau, All Music Guide
