Queen Latifah Albums (7)
What The Critics Say
Following a pair of vocal showcase albums that involved classy yet fun spins on the likes of Dr. Buzzard's Original Savannah Band, Nina Simone, and Billy Strayhorn, Queen Latifah enlists producers Cool & Dre to help concoct a willfully schizophrenic set of pop-oriented material. As anyone familiar with her recent screen and studio work would expect, Latifah's shifts from character to character are not rocky. "What's the Plan" is an obvious Cheryl Lynn circa-"Encore" impersonation, albeit one streaked with Dre's vocal effect-driven gibberish. "Cue the Rain" works a rocking backdrop -- not unlike a fist-pumping cut off a mid-'80s soundtrack -- with quotes from Fleetwood Mac's "The Chain." One of the more contemporary tracks, the sleek and flirty "Take Me Away (With You)," features Marsha Ambrosius and is surprisingly effective. Just about all of it is enjoyable. Few vocalists who can sing and rap can display such versatility on one album. ~ Andy Kellman, All Music Guide
What The Critics Say
Trav'lin' Light, Queen Latifah's follow-up to her first collection of pop standards, The Dana Owens Album (2004), is, if anything, even better than that Grammy-nominated set. Contemporary performers often get into trouble when they take on music of the pre-rock era, but this one, who is by now so far removed from her origins that she probably should be referred to as a former rapper, not only has the vocal talent to carry it off, she also has put in the hard work with producers, arrangers, musicians, and (no doubt) a vocal coach to create a more-than-credible album. Previously, Queen Latifah made the jump from rapper to Oscar-nominated actress, and her acting classes also seem to have come in handy here. In song after song, she has come up with a character to portray through the lyrics, and that helps make her interpretations convincing. Sometimes, it is the songwriters themselves she seems to be channeling. "Poetry Man," the leadoff track, is not far removed from Phoebe Snow's original, although Queen Latifah wisely undersings where Snow elaborated. Similarly, on "I Love Being Here with You" and "I Want a Little Sugar in My Bowl," she seems more than familiar with the originals by authors Peggy Lee and Nina Simone, and her versions are affectionate annotations on them. She probably knows the '40s song "Don't Cry Baby" through its '60s revivals by Etta James and Aretha Franklin, and without competing against those greats gives it an enthusiastic treatment. And, of course, the title song dates to a Billie Holiday recording with Paul Whiteman; Queen Latifah suggests Holiday's style without aping it. She is ably assisted by some expert studio supporters including producers Tommy LiPuma and Ron Fair and arrangers Jerry Hey and John Clayton; no expense has been spared in filling several studios with dozens of musicians, including full string and horn sections and such name soloists as Stevie Wonder (featured on harmonica on "Georgia Rose") and Joe Sample (piano on "Georgia Rose," "Trav'lin' Light," and "I Want a Little Sugar in My Bowl"). A great deal of thought has gone into the song choices (executive producer Monica Lynch is thanked specifically for her suggestions), which range from the '20s all the way up to "I Know Where I've Been" from the 2007 Hairspray soundtrack. Finally, however, it is the singer herself who deserves the credit for making the album work. As with her acting, Queen Latifah's singing is most laudable for not trying to do too much; she may evoke James or Simone or Holiday (or Smokey Robinson or the Pointer Sisters), but she never tries to outsing them; rather, her versions are glosses on the greats she and her producers so admire. ~ William Ruhlmann, All Music Guide
'The Dana Owens Album'
Release Date 9/28/2004
Tracks 12
Label Interscope
See Album Tracklist and Review
What The Critics Say
The hooks on the rap records indicated it could be possible, the roles in Living Out Loud and Chicago made it possible -- the first record in which Dana Owens, better known as Queen Latifah, does nothing but sing. On The Dana Owens Album, she takes on vocal standards and an unlikely array of blues, pop, and soul classics that were adaptable to this intimate setting. The worst thing about it? It makes you upset that it isn't her seventh or eighth record in this vein. Owens' seasoned voice isn't the only attraction. This is a big-time production with a cast of all-star support that includes Arif and Joe Mardin, Herbie Hancock, Vinnie Colaiuta, Jeff Porcaro, and John Patitucci. And then there's Al Green, who steps in to duet on a sizzling and delicately playful cover of his "Simply Beautiful." The range of material is very surprising. The assurance in Screamin' Jay Hawkins' "I Put a Spell on You" is all the more spooky given Owens' poised quietude; Dr. Buzzard's Original Savannah Band's "Hard Times" (!) is one or two production tricks away from sounding like a missing cut from a '70s Rufus & Chaka Khan record; the version of Bill Withers' "The Same Love That Made Me Laugh" is so faithful and knowing that a young Owens must've worn out her parents' copy; the Mamas & the Papas' "California Dreamin'," unlike so many other versions, doesn't sound ironic or willfully corny; and most fitting of all is Joe Zawinul's "Mercy, Mercy, Mercy," in which Owens is able to let loose and belt it out a little. Through and through, this is a real delight -- very classy and a whole lot of fun. Owens has been a busy woman the past several years, whether in front of a camera or behind the scenes, but she really ought to consider doing this type of thing more often. ~ Andy Kellman, All Music Guide
What The Critics Say
Black Reign marked Latifah's move to Motown, and was also a return to the tough-talking, lyrically frank, frequently controversial material that established her as arguably the finest female rapper. "Coochie Bang" and "Weekend Love" were harsh and explicit attacks on would-be hit-and-run lovers, while "Just Another Day" and "I Can't Understand" examined the continuing inequities plaguing inner-city youth, and "Superstar" took a pointedly unglamorous view of her situation and the perils of hip-hop supremacy. ~ Ron Wynn, All Music Guide
What The Critics Say
Nature of a Sista isn't quite the outstanding album Queen Latifah is quite capable of recording. But even so, it's a decent sophomore effort that has more strengths than weaknesses. The North Jersey native tends to spend a lot of time boasting about her microphone skills...but there's no denying the fact that she has considerable technique. As on her first album, Latifah indicates that she could hold her own in a battle with just about any rapper, male or female. And the positive image she projects is certainly commendable. It's obvious that she is capable of a lot more, but much of the album is quite likable. ~ Alex Henderson, All Music Guide
'All Hail the Queen'
Release Date 11/1/1989
Tracks 15
Label Tommy Boy
See Album Tracklist and Review
What The Critics Say
As strong a buzz as Queen Latifah created with her debut single of 1988, "Wrath of My Madness" and its reggae-influenced B-side "Princess of the Posse," one would have expected the North Jersey rapper/actress' first album, All Hail the Queen, to be much stronger. Though not a bad album by any means, it doesn't live up to Latifah's enormous potential. The CD's strongest material includes "Evil That Men Do," a hardhitting duet with KRS-One addressing Black-on-Black crime and other social ills; the infectious hip-house number "Come Into My House"; the rap/reggae duet with Stetsasonic's Daddy-O "The Pros"; and the aforementioned songs. Unfortunately, boasting numbers like "A King and Queen Creation" and "Queen of Royal Badness" aren't terribly memorable. Especially disappointing is "Mama Gave Birth to the Soul Children," a duet with De La Soul that surprisingly, is both musically and lyrically generic. To be sure, Latifah's rapping skills are top-notch -- which is why All Hail the Queen should have been consistently excellent instead of merely good. ~ Alex Henderson, All Music Guide
