Tracy Chapman Albums (8)
What The Critics Say
For Tracy Chapman, the more things change, the more they stay the same. Twenty years after her self-titled debut made her an unexpected overnight star, Chapman's music has changed remarkably little, and while it would be unfair to say she's revealed no stylistic growth since her first album, two decades on she's still following a remarkably similar path, offering well-crafted, midtempo acoustic-oriented songs rooted deep in issues of social justice and matters of the heart on her eighth album, Our Bright Future. Produced by Larry Klein, best known for his work with Joni Mitchell, Our Bright Future doesn't sound retro quite so much as it seems to have appeared by magic from some time warp linking Chapman to the early '70s, complete with Steve Gadd delivering supremely tasteful drumming and Dean Parks doing the same on guitar. With the exception of the sly "I Did It All," in which Chapman assumes the voice of some wild-child celebrity celebrating her paparazzi-worthy exploits, Our Bright Future covers the thematic territory you'd expect from Chapman -- the universality of faith against the factionalism of religion ("Save Us All"), the folly of war ("Our Bright Future"), the struggle to overcome cynicism in a culture gone wrong ("Thinking of You"), the longing for a better world ("Something to See"), and the sweet solace of love ("A Theory"). Chapman's songs are both heartfelt and literate, as they've always been, and the production and arrangements are free of clutter, allowing her subtle but passionate vocals to take the center stage without strain. The craft of Our Bright Future is impressive and Chapman's talents are as clearly evident as ever, but unfortunately this album offers precious little in the way of anything fresh or unexpected from this artist. There's a fine line between doing what you do best and simply following formula, and Our Bright Future finds Chapman leaning too far towards the bad side of that equation for her own good. ~ Mark Deming, All Music Guide
What The Critics Say
Where You Live is a reminder that somewhere during her career, Tracy Chapman softly transformed from just an early publicized face of contemporary folk into a quiet stalwart of social commentary and atmosphere. Though she is certainly best known for her hits "Fast Car" and "Give Me One Reason," those two songs stand within her history as suspension bridge supports: visible from afar as beacons of a structure with purpose, whose job is to sustain the action from point A to point B in her slow evolution. And with major labels' consistent tendency to lean further and further away from hosting artists for more than an album or two, it is commendable that Elektra seems dedicated in serving Chapman's subtlety and dependable longevity, affording her the luxury of having producers and players aboard who nurture her sound through said evolution. Where You Live is yet another elegant and easy album from Chapman, just the kind her fan base has come to expect, and with the help of co-producer Tchad Blake, it embraces some details of Chapman's penchant for darkness, where parts of her earlier records glossed over these folds. Judging by many of the artists with whom he has worked, Blake's inclination seems to be to find minutiae such as this and latch on, his approach being generally heavy-handed, but here he has left plenty of room for the songs to really breathe around their most intriguing attribute: Chapman's warm voice. Perhaps it was Chapman's role as co-producer that served as a ballast, or perhaps it is an example of Blake's growth, but it is worth noting Blake's late-'90s trademark -- ultra-compressed, watery, and claustrophobic drum sounds -- has been given a rest in exchange for simple, dry, and tight drums played minimally by Quinn. This restrained foundation is integral to the dynamics of Where You Live, allowing any flourish to meet the ear with immediacy and purpose. Short of a few examples, Where You Live slides along at a gentle, mid-tempo gait. The nature of Chapman's calm delivery, as with much of her catalog, is deceiving, considering some of the heavy subject matter, but it is perhaps one of her greatest assets that she is able to allow her messages to sink in like mellow fatigue on a late-summer Sunday evening. In anyone else's hands, these smooth edges would likely suffer under the force of preaching, but her demeanor allows the words and melodies to work for themselves. Perhaps due to the album's fluidity, no song from Where You Live immediately presents itself as the single; instead the album operates entirely as a measured course and will enlighten those who will choose to fall into its simple allure, rather than acting as a hook for new listeners. ~ Gregory McIntosh, All Music Guide
What The Critics Say
Irrespective of the ups and downs of her career, Tracy Chapman has had one thing going for her that a number of singer/songwriters lack: a major label. This assures that she'll always get what every performer wants: a fair hearing and perhaps even radio exposure. On Let It Rain, Chapman turns in another introspective album that flows quietly from track to track and will remind listeners of New Beginning (1995) and Telling Stories (2000). The album begins with a sequence of warm, easygoing songs. "Another Sun" finds a slow, bluesy groove that perfectly matches Chapman's soulful lyric, while "In the Dark" explores the murky undercurrent of relationships. There's a loose quality to many of Chapman's lyrics, meaning that a number of things can be read into them. On the title cut, she expresses an openness to everything that the rain brings, whether it's good or bad. "Almost" evokes the spiritual longing familiar to anyone who's come very close, but still fell short, of attaining a dream, a goal, or a perfect relationship. John Parish's full arrangements and warm production provide a sympathetic setting for Chapman's songs and vocals. The only grievance one might find with Let It Rain is that many of the songs have a similar feel and lack distinctive melodies to keep them from blending together. Fans who have enjoyed Chapman's recent albums, however, will enjoy Let It Rain's evocative lyrics and lovely vocals. ~ Ronnie D. Lankford, Jr., All Music Guide
What The Critics Say
Forget that Tracy Chapman's fifth album shares a title with the Charlatans UK's fifth album (and sole masterpiece) Telling Stories -- as far any fan knows, Chapman probably isn't even aware of the Madchester group's existence. Instead, it should be viewed as what it is -- the sequel to New Beginning, the album that reaffirmed Chapman's status as a fine singer/songwriter to a wide audience. That record became a hit thanks to a bluesy, hooky cut called "Give Me One Reason." Telling Stories, as the title suggests, leans toward narratives, but not necessarily in the conventional sense of the term. There are no story songs, in the way that "Fast Car" was a story. Instead, they are emotional, poetic snapshots -- sort of like the musical equivalent of a dense, impressionistic short story. Chapman's songs on Telling Stories may not be as packed with detail as, say, Raymond Carver's work, but they certainly have a way of creating impressionistic lyrics, making short lines mean a lot. Also, the last album taught her a valuable lesson: her lyrics can be rich, but her compositions won't work collectively as a record if she doesn't craft melodic songs and warm productions. That's exactly what she delivers on Telling Stories. Some may think she does this to a fault -- it's easy to coast on the sound of the record without digging into the lyrics -- but the end result is basically the same: a strong, appealing collection of sturdy, tuneful, and evocative songs. This album may not sparkle with genius, as her debut did, nor is it as direct as its predecessor, but it's a strong, solid record that maintains Chapman's reputation as a reliably intriguing and substantive singer/songwriter. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
One might assume that the difference between Tracy Chapman's third album, which spent less than three months in the charts and failed to go gold after her first two albums had sold in the millions, and her fourth, which restored her to substantial commercial success, was the album's hit single, "Give Me One Reason." In fact, after a disappointing start, New Beginning turned around and started selling a few months after its release and before the single took off. It went gold the week that "Give Me One Reason" hit the charts. Of course, having a hit single helps, too, but since "Give Me One Reason" is a nearly generic blues song that isn't particularly characteristic of Chapman or of the album, it may have brought in an audience that didn't get what it expected. Though she has added a backup band, Chapman continues to take a simple musical approach that focuses attention on her voice and to sing lyrics that alternate between intimate emotional portraits and broad political generalizations that seem more felt than deeply thought out. Three songs here, "Heaven's Here on Earth," "The Rape of the World," and the title cut, are about the state of the whole world, which is viewed in either excessively sunny or gloomy terms. As such, Chapman's relationship songs, though they too can be a little vague, register more powerfully because they are so personal. As the title suggests, Chapman is adopting a more open and hopeful posture in both her feelings and her politics on New Beginning, and while the surprise success of "Give Me One Reason" is heartening from a career perspective, that's the real news here. ~ William Ruhlmann, All Music Guide
What The Critics Say
Less bold and angry than her previous work, Chapman paces Matters of the Heart over an acoustic course that touches equally on personal vignettes and social commentary. With her fluid, rapid-fire delivery, Chapman takes aim at society and lands several direct hits devoid of self-righteousness: songs about the downtrodden ("Bang Bang Bang"), feminism ("Woman's Work"), and freedom ("I Used to Be a Sailor"). The album's centerpiece is "If These Are the Things," a subtle, passionate masterpiece about coming to grips with innocence lost. A couple of songs suffer from too much sweetening in the studio, diluting the impact of Chapman's potent lyrics. The extraneous bells and whistles dressing up "Dreaming on a World" provide the most obvious example of a trend Chapman would do well to avoid in the future. ~ Roch Parisien, All Music Guide
What The Critics Say
Tracy Chapman's self-titled debut album of 1988 was an incredibly tough act to follow, but the folk-rocker delivered an inspired sophomore effort with Crossroads. While it falls short of the excellence of her stunning debut, Crossroads is a heartfelt, honest offering that's well worth obtaining. Dedicated to South African freedom fighter Nelson Mandela, the anthemic "Freedom Now" is one of Chapman's best protest songs. Equally compelling is "Subcity," a lament for the poor, disenfranchised underclass that stands on the outside of the American Dream looking in. Much of the time, however, Chapman isn't going for immediacy -- introspective and subtle songs like "Bridges," "Be Careful of My Heart," and "All That You Have Is Your Soul" require at least several listens in order to be fully appreciated. ~ Alex Henderson, All Music Guide
What The Critics Say
Arriving with little fanfare in the spring of 1988, Tracy Chapman's eponymous debut album became one of the key records of the Bush era, providing a touchstone for the entire PC movement while reviving the singer/songwriter tradition. And Tracy Chapman is firmly within the classic singer/songwriter tradition, sounding for all the world as if it was recorded in the early '70s -- that is, if all you paid attention to were the sonics, since Chapman's songs are clearly a result of the Reagan revolution. Even the love songs and laments are underscored by a realized vision of trickle-down modern life -- listen to the lyrical details of "Fast Car" for proof. Chapman's impassioned liberal activism and emotional resonance enlivens her music, breathing life into her songs even when the production is a little bit too clean. Still, the juxtaposition of contemporary themes and classic production precisely is what makes the album distinctive -- it brings the traditions into the present. At the time, it revitalized traditional folk ideals of social activism and the like, kick starting the PC revolution in the process, but if those were its only merits, Tracy Chapman would sound dated. The record continues to sound fresh because Chapman's writing is so keenly observed and her strong, gutsy singing makes each song sound intimate and immediate. ~ Stephen Thomas Erlewine, All Music Guide
