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Phoenix Rising
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Phoenix Rising
Current price: $11.99
Barnes and Noble
Phoenix Rising
Current price: $11.99
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Three years after the brilliant
For Lovers Only
and two personnel changes,
the Temptations
dished out
Phoenix Rising
.
Ali "Ollie" Woodson
and
Theo Peoples
were replaced by
Harry McGilberry
Barrington Scott Henderson
. The album gets off to an excellent start with
"Stay,"
a lilting, mid-tempo mood setter that samples the opening riffs of
"My Girl"
; the red-light special became their highest charting single in years.
"How Could He Hurt You"
is one of those good, questioning
ballads
that always finds a way into your heart. These new
Temptations
are all right, but none are comparable to the squalling
' tenors of the past. Voices reaching the magnitude of
David Ruffin
's,
Dennis Edwards
',
Ali Woodson
's and
Richard Street
's are sorely missed.
Otis Williams
seems to have found his niche doing interludes between songs; it would be interesting to see if they would incorporate
Williams
' eloquent love talks into their stage act.
Ron Tyson
sings effortlessly in a honey-laden falsetto on
"Tempt Me,"
which, other than
is the most arresting number here.
Tyson
displays his natural tenor before sliding into a sky-high falsetto, the backing voices are a thing of beauty as they weave in, out, and around
's deft delivery, and the bass dots in and out placing exclamation points everywhere.
"If I Give You My Heart"
features a
rap
and has a
pop
-ish beat; the tenor tries to cut loose but may have been restrained by producer
Narada Michael Walden
. When listening to
"Take Me in Your Arms"
it helps to imagine
Ruffin
,
Edwards
, or
Woodson
on lead. The mid-tempo songs, for the most part, outshine the
"That's What Friends Are For"
(not the
Dionne Warwick
song) has a deft, stepping beat but changes tempos on the chorus and becomes annoying until it gets back to that "Da, Da, Da" beat. The baritone voice on an occasional lead is sorely missed.
' albums used to feature a baritone voice distinct from the tenor not only in register, but in style and phrasing; here the voices are too similar. Still, not a bad silver platter when you take the personnel changes into consideration. ~ Andrew Hamilton
For Lovers Only
and two personnel changes,
the Temptations
dished out
Phoenix Rising
.
Ali "Ollie" Woodson
and
Theo Peoples
were replaced by
Harry McGilberry
Barrington Scott Henderson
. The album gets off to an excellent start with
"Stay,"
a lilting, mid-tempo mood setter that samples the opening riffs of
"My Girl"
; the red-light special became their highest charting single in years.
"How Could He Hurt You"
is one of those good, questioning
ballads
that always finds a way into your heart. These new
Temptations
are all right, but none are comparable to the squalling
' tenors of the past. Voices reaching the magnitude of
David Ruffin
's,
Dennis Edwards
',
Ali Woodson
's and
Richard Street
's are sorely missed.
Otis Williams
seems to have found his niche doing interludes between songs; it would be interesting to see if they would incorporate
Williams
' eloquent love talks into their stage act.
Ron Tyson
sings effortlessly in a honey-laden falsetto on
"Tempt Me,"
which, other than
is the most arresting number here.
Tyson
displays his natural tenor before sliding into a sky-high falsetto, the backing voices are a thing of beauty as they weave in, out, and around
's deft delivery, and the bass dots in and out placing exclamation points everywhere.
"If I Give You My Heart"
features a
rap
and has a
pop
-ish beat; the tenor tries to cut loose but may have been restrained by producer
Narada Michael Walden
. When listening to
"Take Me in Your Arms"
it helps to imagine
Ruffin
,
Edwards
, or
Woodson
on lead. The mid-tempo songs, for the most part, outshine the
"That's What Friends Are For"
(not the
Dionne Warwick
song) has a deft, stepping beat but changes tempos on the chorus and becomes annoying until it gets back to that "Da, Da, Da" beat. The baritone voice on an occasional lead is sorely missed.
' albums used to feature a baritone voice distinct from the tenor not only in register, but in style and phrasing; here the voices are too similar. Still, not a bad silver platter when you take the personnel changes into consideration. ~ Andrew Hamilton
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