When a Woman Loves [Enhanced, Import]

Incidentally, neither fifty-six-year-old chose to straddle the middle-of-the-road on their most recent sets. However, the comeback of another fifty-six year old male to the contempo Urban AC scene seems anamolous by comparison: he made no concession to any audienceor trend; he did what he always did. The maestro was still demonstrating his "prowess" to the delight of a legion of fans.His ability to maintain his "staying power" without changing is the anamoly-no concessions were made.

With that said, with regard Ms. Labelle and her intention to perform an album of Diane Warren material, the following queries: 1) Is it her way of conceding-or god forbid "change" to suit her older audience whom she perceives are not capable of receiving her as faithfully or 2) Is it her-albeit misguided in practice- way of guranteeing a "smash"?

The answer itself in theory may found in the middle of the road, but the material itself seldom straddles the middle of the road. The savvy production of the songs and Patti's grittier classic delivery on "When a Woman Loves" offsets the often hackneyed and outdated Diane Warren lyricism. "Call Me Gone" is the funkiest Diane Warren song-words thought never uttered. It puts into its mix the production cooperative of Jam and Lewis, and "Velvet Rope" ingredient Big Jim Wright, who brilliantly create a hauntingly effective jam where Patti's trademark vocals are balanced by the haunting ghost-like echo used to underscore her classic vocal presence. Even on the less-than-stunning "Why Do We Hurt Each other?" 'Big' Jim Wright brings the song to a solid conclusion by matching her pleas to end the pain amidst a string section. "Time Will" presents the case that Hex Hector should not be relegated to merely his status as a remixer, but as a full-fledged producer as well: his tribal beats and urgent sway coupled with Patti's aching hope brings an immediacy to the song and presents Patti in a light that even Diana Ross has not been able to achieve of late-that of a Club Mama a la Martha Wash. Her delivery on "Carry On" did not only not match the original, but her attempt was even less grittily assured. "Tell Me Where It Hurts" is the stuff that "Sugarfree" from Ross EDIAND was made of; it has a plea that insinuates and will hopefully ingratiate itself into the favor of Urban AC programmers. "If I Was a River", a cerebral AC dittie that is actually by comparison a tolerable Diane Warren metaphorical premise, evokes imagery of an actual flowing river, and ebbs very delicately-almost to a harp effect-despite what people would criticize as Patti's overly emotive vocal.

Less tolerable is Patti's somewhat anemic one-key delivery of the Taylor Dayne staple "Love Will Lead You Back; it seems very by-the-numbers. In keeping with the cooking motif of the interludes on "When a Woman Loves" and as a valued best-selling cookbook author of "La Belle Cuisine", Labelle believes she pays attention to the details of a recipe for a hit; she seems to profess to know the right proportions, and though her release may not be as edgy as some would contend it need be, it is not entirely safe and predictable either-just the way any delicious surprise could really ever be because she and her army of producers provide the zest.