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Tracklist of Good Woman
Gladys only can do good albums/songs
Although this was not one of her most popular albums, i thought it was done well and i really like the album! It has women impowering songs and good love songs.
GREAT VOICE...mediocre stuff...
Gladys Knight is one of the most controversial artists to me.
She probably has one of the best voices in R'n'B.
She could easily be a winner, and yet...yet the A&R staff must be not working properly for her.
Why in the world she does not get good songs and good production?
This album boasts as a # 1, the opening track (MEN) blows you away, her rendition of Karyn White's SUPERWOMAN (wonderfully sang as a trio along with Patti LaBelle and Dionne Warwick) is moving to the point and she also steps in the hip hop arena with the Salt'n'Pepa back ups on MEET ME IN THE MIDDLE.
And you can't complain about the soulful side too.
WAITING ON YOU and IN THIS LIFE are good ballads.
Yet this album misses a real hit or some solid production.
But you can forgive her (almost) everything with a voice like that!
Very professional, but no outstanding cuts
"Good Woman" was Gladys's 3rd solo album. Unlike the two earlier efforts (from 1978 and '79 respectively), this release was more elaborate, carefully crafted and successful. Gladys, working primarily with little known producers like Zane Giles and D.C. Wilson, co-wrote and co-produced much of the record. It reached #1 on Billboard magazine's R&B album charts and produced the #2 R&B single "Men". Cuts like "Meet Me In The Middle", "Gimme A Chance" and the aforementioned "Men" court the 'new jack swing' sound which was popular at the time. Knight, proving the timelessness of her style, is at home with the busy beats and skittering production flourishes. The ballads do not work as well. Hitmaker Michael Powell provides "Where Would I Be". This languid number might have suited someone like Anita Baker, but it doesn't play to Gladys's declamatory strengths. The lyric to "Superwoman" (a massive hit previously for Karyn White) couldn't be more appropriate for Knight's persona and steel-belted sound, but the vocal rearrangement (to accomodate appearances from Dionne Warwick and Patti Labelle) sabotages the song's momentum. I think Gladys would've handled it better as a solo. "Mr. Love" is a slow number co-written by Gladys that is a cut above. It has a strong melody that Gladys, with what has been called her 'minamilist style', invests with weighty conviction.