Tiffany Albums (8)
'Dreams Never Die'
Release Date 9/16/2005
Tracks 18
Label Headliner Inc./GTM
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What The Critics Say
Tiffany chose the "if you can't beat em, take your music to Japan" approach for Dreams Never Die, an import album which quickly became her fans' pick. However, It is going to take more than a "pleasant" album to revive a dead career. At least Tiffany has learned a thing or two from her urban-dance inspired 1993 flop New Inside, her most important lesson being that one should be one's self, or at least who one appeared to be upon first hitting the pop music scene and garnering a faithful following in 1986. The liner notes for Dreams Never Die remind us that at age 14, Tiffany was "the youngest female artist to score a #1 LP on Billboard's charts" with her quadruple platinum debut album. Dreams Never Die is an album full of potential; in some ways it is a return to her earlier music, and in other ways it's a mellower album that fits comfortably within the boundaries of adult contemporary. Here, Tiffany has called on her old producer George Tobin as well as writers from her first two albums, all of whom she had abandoned since the late '80s. Her voice is undeniably capable -- a raspy, ranged, Mariah Carey-meets-Stevie Nicks sort of voice -- but it has little room to showcase on this album. "Loneliness," for example, is a very engaging song laden with charming sound effects, but in addition to its tacky message and poor grammar ("Loneliness will bring you and I together again"), the vocals sound buried beneath the production, as though the music was recorded for a dance club while the vocal tracks were recorded with a garage band. There is better production on her version of Otis Redding's "These Arms of Mine," which she sings with pure confidence; by the time she screams "I want to know if you want me, need me, love me," she has proven her vocal power, if not shredded her chords. Tiffany even returns to earlier country roots (the style of music she sang as a child) on "Sam Loves Joann," which combines a very hummable melody with the emotional story of a young, pregnant woman who has left her prison-bound boyfriend. Tiffany needs more songs like this one -- songs that stand out and allow her voice to flow alongside the music rather than compete with it. With the pop comeback of the late '90s, she definitely has room for improvement, if not a full-fledged comeback. ~ Peter Fawthrop, All Music Guide
'The Color of Silence'
Release Date 10/10/2000
Tracks 13
Label Eureka
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What The Critics Say
If a class reunion of sorts were held for teen sensations from decades past, Tiffany might have every other guest writhing in envy thanks to The Color of Silence. The flaming red-haired pop singer has long provided the essence of embarrassing '80s musical preferences and the core of one-hit wonder teasing (though she was more of a four-hit wonder). What a surprise then that she is now a geek resurrected and reinvented. Take heed, bullies of the music world -- Tiffany was "most likely to prove us all wrong" from the very start. The Color of Silence is the Tiffany album listeners have been waiting for. It is extravagant and unbridled, spilling with good ideas molded into eclectic rock pieces and passionate pop songs and ballads. If anyone should question a Tiffany return, they need only hear "Open My Eyes," which introduces itself as a guitar-strumming ballad before exploding into one of the most flavorful and hard-edged pop choruses of 2000. She follows similar suit on "Good Enough for Me," which glistens with simple catchy charm. Intentionally or not, The Color of Silence bridges three decades of music, which is a primary factor in its appeal. Tiffany's voice itself, as immaculate and deliciously raw as it has become, is still a leak through from the '80s. Many of the femme power messages and alternative angst from the '90s scourge the album, yet every song is carried by a glossy modern 2000 production and absolutely terrific instrumentals. There are the kind of albums that sound horrible until they grow on you and you break each song down to reveal the intricacies and beauty underneath. There is a rarer kind of album which sounds great on the surface, but is not full of cliché a-b-c lyrics and arrangements either. The Color of Silence needs to be broken down but not in order to love the album, rather, to love it more. This "comeback" attempt could simply be credited with good marketing in the way it filters intelligent, poetic lyrics through the current trend in synthesized, electric pop. It is quite evident that Tiffany and her team of writers (including producer Tim Feehan) seem to have a higher goal than hitting marks on the radio station spectrum. The ballad "If Only" may be lovely and radio friendly but it is also a haunting cry for unrequited love that runs a blatant four-line course on suicidal tendency. "Piss You Off" is a track that also may not go over well with parents of young Tiffany admirers, but with all the other radiowave junk running amok, at least it has something to say. Boasting clever lyrics, it compares two lovers to hateful neighbors ("Too bad if you think I'm leaving/Who cares if you hate my dog/Maybe I'll get another/Just to piss you off") and one of the great melodies on an album filled with hooks. Tiffany reaches a targeted adult audience while keeping her lyrics toned on most of the album to appeal to all ages -- they are wholesome and deep but not baffling (There is a fine line to walk in turning self expression to pop music and at moments Tiffany has a better grasp than the Alanis Morisettes or Sarah McLachlans). The first single "I'm Not Sleeping" mixes dark melody and fun with additional vocals by rap artist Krayzie Bone. It is not a surprise that Eureka Records changed their choice in first single release (it was originally "Open My Eyes") because half the album would boast well for a single. Here is hoping that the album will do well enough to eventually release the dazzling rocker "Christening," which is downright scary when you keep in mind it was sung by the same mall girl who gave listeners "I Think We're Alone Now." Call her a mall girl now -- dare ya. ~ Peter Fawthrop, All Music Guide
'Hold an Old Friend's Hand'
Release Date 11/21/1988
Tracks 11
Label MCA
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What The Critics Say
Tiffany's second album, a stronger, more complete package than the first, showcased a more mature image and sound without much alteration of the misunderstood-teen theme that brought her first success. Though only the ballad "All This Time" (which hit the Top Five) and the up-tempo "Radio Romance" (which barely broke the Top 40) were the only singles to gain any attention, there were many other cuts worthy of chart action. The title song, conveying an understanding of life the singer may not have been able to fully understand at the time, might have been too adult for her fan base, though its lyrics, asking for a moment with an old friend (I don't believe it hurts to grow/even when the crop you sow is a failure/You don't have to stay/I just want to hold you), are full of nostalgia and longing. "We're Both Thinking of Her," "Walk Away While You Can," and "Drop That Bomb" are perfect pop jingles. "Hearts Never Lie" is a pretty duet with Chris Farren (who went on to big '90s success in country music) that should have jump- started his career as a vocalist. Tiffany's voice is used to a much better end on this album, and it seems she's having fun singing about the perils of young adulthood, which, for music like this, is critical. If pop music isn't fun, it's nothing. The only drawbacks -- and they are minor -- are "It's the Lover (Not the Love)," in which she sounds like she's shouting, and the somewhat grating "I'll Be the Girl," though both are undeniably catchy. ~ Bryan Buss, All Music Guide
What The Critics Say
Tiffany Darwisch became the youngest female artist to have an album reach Billboard's number one spot with this eponymous debut. Aside from the teen anthem "I Think We're Alone Now," the regretful piano ballad "Could've Been" (both of which went to number one), and the Top Ten single "I Saw Him Standing There," her approach is more country-pop than the dance-flavored music popular at the time. This works to Tiffany's advantage, as her voice, more mature than her years, doesn't relay the plastic sheen of most teen stars. There are weak points ("Feelings of Forever," "Promises Made"), but most of the material is enjoyable without being schlocky. "Kid on a Corner," "Should've Been Me," "Johnny's Got the Inside Moves," and "Danny" are all inoffensive, mid-tempo tunes that are more than just filler, but they aren't accomplished enough to hold up if this isn't your type of music. Though this is a fair debut for a young singer with a voice she'd grow into, her follow-up, Hold an Old Friend's Hand, is more consistently realized. ~ Bryan Buss, All Music Guide
What The Critics Say
In the early 1990s, teen idols Tiffany and Debbie Gibson both set out to shed their "teen queen" images by getting away from sugary pop and embracing a tougher urban contemporary sound. The new Tiffany was unveiled with New Inside, which was every bit as radical a departure from her previous albums as she claimed. What the CD isn't, however, is memorable. High-tech cuts like "Tiff's Back" (which was produced by Maurice Starr, who had made a fortune working with New Kids On The Block) and the new jack swing-influenced "It's You" sound like they were tailor-made for urban radio. They also sound contrived and robotic. The CD bombed, and Tiffany failed to regain her popularity. ~ Alex Henderson, All Music Guide
