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I Want to Be with You
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I Want to Be with You
Current price: $21.49
Barnes and Noble
I Want to Be with You
Current price: $21.49
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It wasn't for lack of talent that
Dee Dee Warwick
never approached the mainstream superstardom of her more famous older sister. As a sort of companion to
She Didn't Know: The Atco Sessions
, this generous 26-track collection compiles everything she recorded for the titular label from 1965-1969, with two tracks from a later 1973 session. The younger
Warwick
's rawer approach was closer to
Aretha
's but, when she slides into the high notes, the similarities to sister
Dionne
are obvious. Although revered by
soul
authorities as a great talent, when listening to these tracks it's easy to hear why she never clicked with the general public. For all her obvious vocal talents, there aren't enough great songs that draw attention to her fabulous
gospel
-driven voice. Additionally, like
Dusty Springfield
, her best assets are often buried behind a fussy and overbearing production that does neither her, nor these tunes, any favors. Ranging from
pop-soul
to
R&B
, the various producers add strings, backing vocals, horns, and at times everything short of
Phil Spector
in an effort to bolster some of these weak songs, but the results generally don't justify the effort. Even the great Philadelphia team of
Gamble
&
Huff
can't create sparks on the few tracks they are involved with. That said, there are enough gems scattered throughout to justify this disc's existence, especially since it marks the first CD appearance of many of these heretofore rare songs.
lays into the bluesy
"That's Not Love"
like
Etta James
, causing distortion as she hauls off and wails with soul-searing power. The obscure
Goffin
King
tune
"Yours Until Tomorrow,"
best-known from
Gene Pitney
's version, is a should-have-been hit, as is the original version of
"I'm Gonna Make You Love Me,"
later a smash when
the Temptations
and
the Supremes
took it to the charts. Ultimately,
was a substantial talent who didn't find her niche, or land songwriters of the
Bacharach
/
David
stature to guide her. This worthy collection -- predominantly taken from the original masters but still sounding thin and sometimes shrill -- is an important historical item for die-hard '60s
fans, but disappointing for the casual listener. ~ Hal Horowitz
Dee Dee Warwick
never approached the mainstream superstardom of her more famous older sister. As a sort of companion to
She Didn't Know: The Atco Sessions
, this generous 26-track collection compiles everything she recorded for the titular label from 1965-1969, with two tracks from a later 1973 session. The younger
Warwick
's rawer approach was closer to
Aretha
's but, when she slides into the high notes, the similarities to sister
Dionne
are obvious. Although revered by
soul
authorities as a great talent, when listening to these tracks it's easy to hear why she never clicked with the general public. For all her obvious vocal talents, there aren't enough great songs that draw attention to her fabulous
gospel
-driven voice. Additionally, like
Dusty Springfield
, her best assets are often buried behind a fussy and overbearing production that does neither her, nor these tunes, any favors. Ranging from
pop-soul
to
R&B
, the various producers add strings, backing vocals, horns, and at times everything short of
Phil Spector
in an effort to bolster some of these weak songs, but the results generally don't justify the effort. Even the great Philadelphia team of
Gamble
&
Huff
can't create sparks on the few tracks they are involved with. That said, there are enough gems scattered throughout to justify this disc's existence, especially since it marks the first CD appearance of many of these heretofore rare songs.
lays into the bluesy
"That's Not Love"
like
Etta James
, causing distortion as she hauls off and wails with soul-searing power. The obscure
Goffin
King
tune
"Yours Until Tomorrow,"
best-known from
Gene Pitney
's version, is a should-have-been hit, as is the original version of
"I'm Gonna Make You Love Me,"
later a smash when
the Temptations
and
the Supremes
took it to the charts. Ultimately,
was a substantial talent who didn't find her niche, or land songwriters of the
Bacharach
/
David
stature to guide her. This worthy collection -- predominantly taken from the original masters but still sounding thin and sometimes shrill -- is an important historical item for die-hard '60s
fans, but disappointing for the casual listener. ~ Hal Horowitz
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