--=[ Anita Baker ]=--

Anita Baker - Compositions [1990]

On Rapture and Giving You the Best That I Got, Anita Baker embraced a blend of technology and "real instruments" -- a definite contrast to the completely high-tech approach of so much '80s and '90s R&B. But on Compositions, producer Michael J. Powell moved even closer to a '70s-like approach to R&B -- recording Baker's vocals live in the studio, employing a live rhythm section, and avoiding drum machines altogether. What stayed the same was the type of material. Once again, Baker rejects hip-hop, techno-funk, new jack swing, and other '80s and '90s black music styles in favor of a consistently relaxed soul/pop mood. Though there's a lot to admire here -- including "No One to Blame," "Soul Inspiration," and "Whatever It Takes," a song Baker wrote with Gerald LeVert and Marc Gordon of LeVert -- Baker's approach was beginning to sound formulaic in 1990. Clearly blessed with a magnificent range and lots of soul, Baker needs to experiment and take more risks. And one way to go just might be jazz. The torchy and captivating "Lonely" shows that she has the ability to record a first-rate jazz album (if Elektra would okay such a project for her). Imagine Baker backed by James Moody, Tom Harrell, Chick Corea, Ray Brown, and Grady Tate.















Anita Baker-Giving You the Best That I Got [1988]

The sizeable following that Anita Baker acquired with Rapture proved quite receptive to the only slightly less appealing Giving You the Best That I Got -- an album that's quite similar to its predecessors. Though not quite on a par with The Songstress or Rapture, Best is far superior to most of 1988's uninspired R&B releases. Instead of tampering with Rapture's consistently romantic and mellow soul/pop approach, Elektra brought back that album's producer, Michael J. Powell, and kept her at the top of the charts with such sleek yet earthy fare as "Just Because" (whose harmonies bring to mind producers Jimmy Jam & Terry Lewis, but lack the hip-hop elements they're quick to employ), "Priceless," the haunting "Good Love," and the title song. Much of Baker's music has contained jazz overtones, but on the Brazilian-influenced, slightly bossa nova-ish "Good Enough," Sarah Vaughan's influence becomes even more apparent -- and indicates that she is making a tremendous mistake by not recording outright jazz.















Anita Baker - Rapture [1986]

Though Anita Baker got some airplay out of The Songstress, that promising solo debut didn't bring her financial security. In fact, Baker was earning her living as a legal secretary in her native Detroit when she signed with Elektra in the mid-'80s. Elektra gave her a strong promotional push, and the equally superb Rapture became the megahit that The Songstress should have been. To its credit, Elektra made her a major star by focusing on Baker's strong point -- romantic but gospel-influenced R&B/pop ballads and "slow jams," sometimes with jazz overtones -- and letting her be true to herself. Rapture gave Baker one moving hit after another, including "Sweet Love," "Caught up in the Rapture," "Same Ole Love," and "No One in This World." Praising Baker in a 1986 interview, veteran R&B critic Steve Ivory asserted, "To me, singers like Anita Baker and Frankie Beverly define what R&B or soul music is all about." Indeed, Rapture's tremendous success made it clear that there was still a sizeable market for adult-oriented, more traditional R&B singing.















Anita Baker - The Songstress [1983]

Trends in African-American music changed considerably between Anita Baker's first taste of national exposure in 1979 (when she was a member of Detroit soul band Chapter 8 and sang lead on the hit ballad "I Just Wanna Be Your Girl") and her debut solo album, The Songstress, in 1983. While 1979's black music charts were full of large funk bands, standup vocal harmony groups, and disco divas, rappers and techno-funksters like the System were very much in vogue in 1983. Instead of following trends, Baker excelled by doing what she does best: gospel-influenced, '70s-type soul/pop with jazz overtones. The Songstress, released by the small Beverly Glen label and reissued by Elektra in 1991, wasn't the mega-hit her next album, Rapture, would be. But the Sarah Vaughan-influenced singer began to build a following with such honest, heartfelt ballads and "slow jams" as "No More Tears," "You're the Best Thing Yet," and the caressing "Angel." A sweaty taste of gospel-drenched funk, the invigorating "Squeeze Me" is atypical of the ballad-oriented Baker -- although she definitely shines at this faster tempo. Indeed, Baker's solo career was off to a most impressive start with The Songstress. For those who savored Rapture and Giving You the Best That I Got, The Songstress is also essential listening.

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