Paula Abdul
Reviewed on this page:
Forever Your Girl -
Spellbound - Head Over Heels
Long before her erratic antics on American Idol, Paula Abdul made her name as a choreographer, working on videos by Michael Jackson, Janet Jackson, and
various non-Jacksons. Then she became a singing star in her own right,
and as a singer she's strictly a choreographer: her voice is so thin you
can't believe modern recording techniques are being used - she makes
Latoya Jackson sound like Mahalia Jackson. (Okay, no more Jackson
references, I promise.) Abdul can't write or play a note either, but who
cares? The 90s, like preceding decades, were about attitude and style,
and most importantly, hooking up with the right writers and producers.
She's done that successfully enough to sell millions of albums, all
three of which, for one reason or another, I've spent good money on. Now
you can profit from my mistakes. (DBW)
 Forever Your Girl (1989)
I don't care what anyone says, "Straight Up" was the best single
of 1989: a magical blend of distorted guitars, insidious keyboard hooks,
and crashing programmed drums, written and produced by Elliot Wolff.
Wolff's other contribution to the disc is the lame "Cold-Hearted" - the
plurality of the tracks are by Oliver Leiber, who mostly
sticks with uptempo Jimmy Jam/Terry Lewis ripoffs like the
singles "The Way That You Love Me" (the record's second-best
track) and "Opposites Attract," though he occasionally slows the pace
for a downtempo Jam/Lewis ripoff (title track). LA Reid & Babyface contribute one track, the forgettable
"Knocked Out." Occasionally annoying late 80s pop,
lifted above the pack by "Straight Up." (DBW)
 Spellbound (1992)
Boldly enough, Abdul jettisoned all the producers from her debut in
favor of Peter Lord, V. Jeffrey Smith and Sandra St. Victor, who had
recorded together as The Family Stand. But the end product sounds pretty
much the same - which is to say, pretty much like Janet Jackson. The new
team wrote most of the tracks, including the big hits: the singsong
"Promise Of A New Day" and the ballads "Rush Rush" and "Will You Marry
Me?" with laid-back harmonica by Stevie
Wonder. The most interesting track is probably Prince's "U," with a minimal electronic
arrangement, complex chords, a nagging hook, and ludicrous spoken
vocals. The album doesn't take enough chances to really fall on its
face, but it won't make you smile, either. (DBW)
Head Over Heels (1995)
Her desire to emulate Janet has gotten way out of
control, judging from the cover photos. Anyway, sales were disappointing
compared with the previous two releases, but I can't see why: it uses
exactly the same trailing-the-cutting-edge approach, mixing sappy
ballads and strident dance tunes. It's more consistently listenable than
Spellbound, though there still aren't any must-have cuts. The
Family Stand is back on the embarrassing "Crazy Cool"; other producers
include Elliot Wolff (the routine "Ain't Never Gonna Give You Up"),
Rhett Lawrence (the hip hop-inflected "If I Were Your Girl"), Dallas Austin ("The Choice Is Yours," one of the
disc's best tracks), Babyface protege Daryl
Simmons ("I Never Knew It"), Tim Miner (his weepfest "Cry For Me") and
the team of Howie Hersh, Iki Levy and Robb Boldt (several obvious
uptempo jams, the worst being "Sexy Thoughts"). Lawrence's "My Love Is
For Real" is the most venturesome track, incorporating Middle Eastern
influences and even bringing in Ofra Haza to add some vocals.
Unfortunately, Haza's presence only reminds you what a puny singer Abdul
really is. Still, if you're a fan you won't go too far wrong here.
(DBW)
The choice is yours.
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