"Fastlove" is a song by George Michael, released as a single in 1996 by Virgin Records in the United Kingdom and DreamWorks Records in the United States. The song went to no.1 in 5 countries: Australia, Spain and the United Kingdom. The song was written by Michael, Patrice Rushen, Freddie Washington and Terri McFaddin with production by Michael and Jon Douglas; the song received positive reviews from music critics. It was nominated for Best Single at the 1997 Brit Awards. Commercially, the song topped the charts in the United Kingdom, Australia and Spain, it was his seventh and final number one single in the UK during his lifetime and is his seventh most downloaded track there, earning him a Gold certification by the British Phonographic Industry. It has sold 465,504 copies in the UK, its music video which directed by Vaughan Arnell and Anthea Benton, was nominated for the video category at the Brit Awards and three MTV Video Music Awards in 1996 won the International Viewer's Choice Award—MTV Europe.
"Fastlove" is an energetic tune about the need for gratification and fulfillment without concern for commitment. The song was the second single taken from Michael's third studio album Older, his first studio album in six years and only the third of his solo career. For the single's B-side, a remake of the Wham! Classic "I'm Your Man" was used. Entitled "I'm Your Man'96", it was an update of one of their last singles, a decade earlier. A re-sung but otherwise identical chorus of the Patrice Rushen hit "Forget Me Nots" was used toward the end of the song, although no co-writing credit was given; this problem was rectified in the liner notes of Gentlemen: The Best of George Michael. Jon Kutner from 1000 UK Number One Hits said the line "Stupid Cupid keeps on calling me and I see lovin' in his eyes" had a dual interpretation which could imply Michael's homosexuality. Music & Media wrote about the song: "Michael previews his new album Older, released May 13, with an uncomplicated, good-time funky dance track in which the repetition of the title has a lasting effect.
With a production and atmosphere owing much to late-'70s disco grooves, the track features some catchy snippets of Patrice Rushen's Forget Me Nots, whereas the extended version is a clever rewrite of Wham!'s I'm Your Man. Radio will love it."Entertainment Weekly's Jim Farber gave the song an "A", he stated: "It took real guts to release a salute to a one-night stand in this, the era of abstinence," praising its "devilishly seductive bass" and "sleekly probing horns". Ferber concluded his review by calling the track "best slow-groove dance record since Lisa Stansfield's'All Around the World.'"Cash Box wrote: "The new "Fastlove" pumps up both the volume and the velocity for a terminally danceable, happy-feet track that's sure to become a staple in discos across the U. S. "Fastlove" features the sort of ultra-lush, opulent soul vibe that's been Michael's hallmark throughout his career."While reviewing Older, Stephen Thomas Erlewine from AllMusic said although "Fastlove" is the album's only dance track, but it still "lacks the carefree spark of his earlier work."
He still chose the song as his one of his "track picks." Writing about the album for Rolling Stones, Al Weisel called the track a "bouncy disco concoction" and "flavored with Dr. Dre-style whistling synths."In 2014, Brendon Veevers from British webzine Renowned for Sound ranked the song at number 4 on his "Top 10 George Michael Hits" list, stating: " is a slick, ultra-modern dance-pop track that sits quite contrasting to the rest of the Older tracks but has held up exceptionally well over the past almost-20 years since it was offered to us."In 2017, Dave Fawbert of ShortList Magazine called Fastlove "one of the greatest songs made", noting that, at a time when Britpop was at its height "George Michael decided to ignore it and release a slinky R&B/soul number which announced, with the utmost style, that he would be just as relevant in the ‘90s as he had been in the ‘80s." He was full of praise for Fastlove Part II, although criticized the "Summer Mix" of the song as lacking "the fruity bass of the original".
Fawbert produced a half-hour version of Fastlove as a homage. The song reached the number one spot in United Kingdom, it reached number one in Australia and Italy. In the US, "Fastlove" peaked at number 8, has since become a classic in George Michael's catalogue, finished at number 62 on the year-end chart. To date, this is the final George Michael single to enter the American Billboard Hot 100, as well as peaking at number 44 in the Hot R&B/Hip-Hop Singles & Tracks chart. "Fastlove" became Michael's seventh most downloaded track in the United Kingdom, according to Official Charts Company in 2014. Directed by Vaughan Arnell and Anthea Benton, the music video begins with a flickering virtual reality image of a woman on a bed followed by a man sitting in a black chair using a high-tech remote control device to "flip" through a variety of sexual virtual reality characters. Michael appears in the black chair, equipped with speakers. At one point, one of the dancers is shown wearing headphones displaying the word'FONY' in the style of the Sony corporate logo, a reference to the contractual dispute Michael was having at the time with Sony Music Entertainment.
Throughout the video, there is a variety of men and women, who display a spectrum of characteristics, including one, shy, another, lustful, another, a complete emotional wreck sitting in the chair and using the remote control to summon more sexual characters. As the video end
The twelve-inch single is a type of gramophone record that has wider groove spacing and shorter playing time compared to LPs. This allows for louder levels to be cut on the disc by the mastering engineer, which in turn gives a wider dynamic range, thus better sound quality; this record type is used in disco and dance music genres, where DJs use them to play in clubs. They are played at either 45 rpm. Twelve-inch singles have much shorter playing time than full-length LPs, thus require fewer grooves per inch; this extra space permits a broader dynamic range or louder recording level as the grooves' excursions can be much greater in amplitude in the bass frequencies important for dance music. Many record companies began producing 12-inch singles at 33 1⁄3 rpm, although 45 rpm gives better treble response and was used on many twelve-inch singles in the UK; the gramophone records cut for dance-floor DJs came into existence with the advent of recorded Jamaican mento music in the 1950s. By at least 1956 it was standard practice by Jamaican sound systems owners to give their "selecter" DJs acetate or flexi disc dubs of exclusive mento and Jamaican rhythm and blues recordings before they were issued commercially.
Songs such as Theophilus Beckford's "Easy Snappin'" were played as exclusives by Sir Coxson's Downbeat sound system for years before they were released in 1959 – only to become major local hits pressed in the UK by Island Records and Blue Beat Records as early as 1960. As the 1960s creativity bloomed along, with the development of multitrack recording facilities, special mixes of rocksteady and early reggae tunes were given as exclusives to dancehall DJs and selecters. With the 1967 Jamaican invention of remix, called dub on the island, those "specials" became valuable items sold to allied sound system DJs, who could draw crowds with their exclusive hits; the popularity of remix sound engineer King Tubby, who singlehandedly invented and perfected dub remixes from as early as 1967, led to more exclusive dub plates being cut. By 10-inch records were used to cut those dubs. By 1971, most reggae singles issued in Jamaica included on their B-side a dub remix of the A-side, many of them first tested as exclusive "dub plates" on dances.
Those dubs included drum and bass-oriented remixes used by sound system selecters. The 10-inch acetate "specials" would remain popular until at least the 2000s in Jamaica. Several Jamaican DJs such as DJ Kool Herc exported much of the hip hop dance culture from Jamaica to the Bronx in the early 1970s, including the common Jamaican practice of DJs rapping over instrumental dub remixes of hit songs leading to the advent of rap culture in the United States. Most the widespread use of exclusive dub acetates in Jamaica led American DJs to do the same. In the United States, the twelve-inch single gramophone record came into popularity with the advent of disco music in the 1970s after earlier market experiments. In early 1970, Cycle/Ampex Records test-marketed a twelve-inch single by Buddy Fite, featuring "Glad Rag Doll" backed with "For Once in My Life"; the experiment aimed to energize the struggling singles market, offering a new option for consumers who had stopped buying traditional singles. The record was pressed at 33 rpm, with identical run times to the seven-inch 45 rpm pressing of the single.
Several hundred copies were made available for sale for 98 cents each at two Tower Records stores. Another early twelve-inch single was released in 1973 by soul/R&B musician/songwriter/producer Jerry Williams, Jr. a.k.a. Swamp Dogg. Twelve-inch promotional copies of "Straight From My Heart" were released on his own Swamp Dogg Presents label, with distribution by Jamie/Guyden Distribution Corporation, it was manufactured by Jamie Record Co. of Pennsylvania. The B-side of the record is blank; the first large-format single made for DJs was a ten-inch acetate used by a mix engineer in need of a Friday-night test copy for famed disco mixer Tom Moulton. The song was; as no 7-inch acetates could be found, a 10–inch blank was used. Upon completion, found that such a large disc with only a couple of inches worth of grooves on it made him feel silly wasting all that space, he asked Rodríguez to re-cut it so that the grooves looked more spread out and ran to the normal center of the disc. Rodriguez told him.
Because of the wider spacing of the grooves, not only was a louder sound possible but a wider overall dynamic range as well. This was noticed to give a more favorable sound for discothèque play. Moulton's position as the premiere mixer and "fix it man" for pop singles ensured that this fortunate accident would become industry practice; this would have been a natural evolution: as dance tracks became much longer than had been the average for a pop song, the DJ in the club wanted sufficient dynamic range, the format would have enlarged from the seven-inch single eventually. The broad visual spacing of the grooves on the twelve-inch made it easy for the DJ in locating the approximate area of the "breaks" on the disc's surface in dim club light. A quick study of any DJs favorite discs will reveal mild wear in
Dance Club Songs
The Dance Club Songs chart is a weekly chart published by Billboard in the United States. It is a national survey of the songs which are the most popular in nightclubs across the country and is compiled from reports from a national sample of disc jockeys, it was launched as the Disco Action Top 30 chart on August 28, 1976, became the first chart by Billboard to document the popularity of dance music. Since its inception, several artists garnered multiple achievements. In January 2017, Billboard proclaimed Madonna as the most successful artist in the history of the chart, ranking her first in their list of the 100 top all time dance artists and Janet Jackson being the second most successful dance club artist of all-time. Katy Perry holds the record for having eighteen consecutive number-one songs. Perry's third studio album, Teenage Dream, became the first album in the history of the chart to produce at least seven number-one songs between 2010–12, a record it held until Rihanna's eighth studio album Anti produced seven chart toppers through 2016-17.
Rihanna is the only artist to have achieved five number-one songs in a calendar year. The first number-one song on the Dance Club Songs chart for the issue dated August 28, 1976, was "You Should Be Dancing" by the Bee Gees; the current number-one song on the Dance Club Songs chart for the issue dated April 13, 2019, is "The Boss 2019" by Diana Ross. Dance Club Songs has undergone several incarnations since its inception in 1974. A top-ten list of tracks that garnered the largest audience response in New York City discothèques, the chart began on October 26, 1974 under the title Disco Action; the chart went on to feature playlists from various cities around the country from week to week. Billboard continued to run regional and city-specific charts throughout 1975 and 1976 until the issue dated August 28, 1976, when a thirty-position National Disco Action Top 30 premiered; this expanded to forty positions in 1979 the chart expanded to sixty positions eighty, reached 100 positions from 1979 until 1981, when it was reduced to eighty again.
During the first half of the 1980s the chart maintained eighty slots until March 16, 1985 when the Disco charts were splintered and renamed. Two charts appeared: Hot Dance/Disco, which ranked club play, Hot Dance Music/Maxi-Singles Sales, which ranked 12-inch single sales. Only Hot Dance Club Songs still exists today. In 2003 Billboard introduced the Hot Dance Airplay chart, based on radio airplay of six dance music stations and top 40 mix shows electronically monitored by Nielsen Broadcast Data Systems; these stations are a part of the electronically monitored panel that encompasses the Hot 100. On January 26, 2013, Billboard added a new chart, Dance/Electronic Songs, which tracks the 50 most popular Dance and Electronic singles and tracks based on digital single sales, radio airplay, club play as reported on the component Dance/Electronic Digital Songs, Dance/Electronic Streaming Songs, Dance Club Songs charts. Radio airplay is not limited to that counted on the Dance/Mix Show Airplay chart.
Although the disco chart began reporting popular songs in New York City nightclubs, Billboard soon expanded coverage to feature multiple charts each week which highlighted playlists in various cities such as San Francisco, San Diego, Los Angeles, Phoenix and Houston. During this time, Billboard rival publication Record World was the first to compile a dance chart which incorporated club play on a national level. Noted Billboard statistician Joel Whitburn has since "adopted" Record Worlds chart data from the weeks between March 29, 1975 and August 21, 1976 into Billboards club play history. For the sake of continuity, Record Worlds national chart is incorporated into both Whitburn's Dance/Disco publication as well as the 1975 and 1976 number-ones lists. With the issue dated August 28, 1976, Billboard premiered its own national chart and their data is used from this date forward. For the full list of all 100 All Time Top Dance Club Artists, click here. 19th week — "Wordy Rappinghood"/"Genius of Love" by Tom Tom Club 19th week — "Walking on a Dream" by Empire of the Sun 17th week — "Losing It" by Fisher 16th week — "The Look of Love" by ABC 16th week — "Most Precious Love" by Blaze presents U.
D. A. U. F. L. Featuring Barbara Tucker 16th week — "Where Have You Been" by Rihanna 16th week — "Right Now" by Rihanna featuring David GuettaSources: Thriller by Michael Jackson "The Boss" — Diana Ross, The Braxtons, Kristine W, again Diana Ross. Enrique Iglesias, Dave Audé and Pitbull are tied with 14 number-ones on the chart, the most among male artists. Iglesias, however, is the only male vocalist to accomplish this feat, while Audé is the only producer to achieve this milestone, as his singles feature a different vocalist. Rihanna is the first artist to earn 4 number-ones on the chart in a year and is the first act to earn 5 number-ones in a year as well. Three acts have attained thirteen number-one songs: Deborah Cox, Whitney Houston, Yoko Ono. Kylie Minogue became the first act to have two songs in the top three on March 5, 2011, her song "Better than Today" was number-one while "Higher", a song by Taio Cruz on which Minogue features, was number three. On July 28, 2016, Rihanna became the secon
Big is a 1988 American fantasy comedy film directed by Penny Marshall, stars Tom Hanks as Adult Josh Baskin, a young boy who makes a wish "to be big" and is aged to adulthood overnight. The film stars Elizabeth Perkins, David Moscow as young Josh, John Heard and Robert Loggia, was written by Gary Ross and Anne Spielberg. Twelve-year-old Josh Baskin, who lives with his parents and infant sister in Cliffside Park, New Jersey, is told he is too short for a carnival ride called the Super Loops, while attempting to impress Cynthia Benson, an older girl, he puts a coin into an unusual antique arcade fortune teller machine called Zoltar, makes a wish to be "big". It dispenses a card stating "Your wish is granted", but Josh is spooked to see it was unplugged the entire time; the next morning, Josh has been transformed into a 30-year-old man. He tries to find the Zoltar machine, only to see the carnival having moved on. Returning home, he tries to explain his predicament to his mother, who refuses to listen and threatens him, thinking he is a stranger who kidnapped her son.
Fleeing from her, he finds his best friend and convinces him of his identity by singing a rap that only they know. With Billy's help, he learns that it will take a long time to find the machine, so Josh rents a flophouse room in New York City and gets a job as a data entry clerk at MacMillan Toy Company. Billy and Josh find out. Josh runs into the company's owner, Mr. MacMillan, at FAO Schwarz, impresses him with his insight into current toys and his childlike enthusiasm, they play a duet on a foot-operated electronic keyboard, performing "Heart and Soul" and "Chopsticks". This earns Josh a promotion to a dream job: getting paid to test toys as Vice President in charge of Product Development. With his promotion, his larger salary enables him to move into a spacious luxury apartment, which he and Billy fill with toys, a rigged Pepsi vending machine dispensing free drinks, a pinball machine, he soon attracts the attention of a fellow MacMillan executive. A romance begins to develop, to the annoyance of her ruthless former boyfriend and coworker, Paul Davenport.
Josh becomes entwined in his "adult" life by spending time with her, mingling with her friends, being in a steady relationship. His ideas become valuable assets to MacMillan Toys. MacMillan asks Josh to come up with proposals for a new line of toys, he is intimidated by the need to formulate the business aspects of the proposal, but Susan says she will handle the business end while he comes up with ideas. Nonetheless, he feels pressured, longs for his old life; when he expresses doubts to her and attempts to explain that he is a child, she interprets this as fear of commitment on his part, dismisses his explanation. Josh learns from Billy, he leaves in the middle of presenting their proposal to other executives. Susan leaves, encounters Billy, who tells her where Josh went. At the park, Josh finds the machine, unplugs it and makes a wish to become "a kid again", he is confronted by Susan, seeing the machine and the fortune it gave him, realizes he was telling the truth. She becomes despondent at realizing.
He tells her she was the one thing about his adult life he wishes would not end and suggests she use the machine to turn herself into a little girl. She declines, saying that being a child once was enough, takes him home. After sharing an emotional goodbye with Susan, he becomes a child again, he waves goodbye to Susan one last time before reuniting with his family. The film ends with Josh and Billy hanging out together, with the song "Heart and Soul" playing over the credits. On the review aggregator Rotten Tomatoes, 97% of 74 critics gave it a positive review, with an average rating of 7.9/10. The website's critical consensus reads, "Refreshingly sweet and undeniably funny, Big is a showcase for Tom Hanks, who dives into his role and infuses it with charm and surprising poignancy." On Metacritic, the film has a weighted average score of 73 out of 100, based on 20 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.
The New York Times praised the performances of Moscow and Rushton, saying the film "features believable young teen-age mannerisms from the two real boys in its cast and this only makes Mr. Hanks's funny, flawless impression that much more adorable."The film was nominated for Academy Awards for Best Actor and Best Original Screenplay. The film is number 23 on Bravo's 100 Funniest Movies. In 2000, it was ranked 42nd on the American Film Institute's "100 Years…100 Laughs" list. In June 2008, AFI named it as the tenth-best film in the fantasy genre. In 2008, it was selected by Empire Magazine as one of "The 500 Greatest Movies of All Time."Big was part of a trend of age-changing comedies produced in the late 1980s, including Like Father Like Son, 18 Again!, Vice Versa, the Italian film Da grande. The latter Italian film has been said to be the inspiration for Big; the film is recognized by American Film Institute in these lists: 2000: AFI's 100 Years...100 Laughs – #42 2008: AFI's 10 Top 10: #10 Fantasy Film The film opened #2 with $8.2 million its first weekend.
It would end up grossing over $151 million. It was the first feature film directed by a woman to gross over $100 million. In 1996, the film was made into a musical for the Broadway stage, it f
A phonograph record is an analog sound storage medium in the form of a flat disc with an inscribed, modulated spiral groove. The groove starts near the periphery and ends near the center of the disc. At first, the discs were made from shellac. In recent decades, records have sometimes been called vinyl records, or vinyl; the phonograph disc record was the primary medium used for music reproduction throughout the 20th century. It had co-existed with the phonograph cylinder from the late 1880s and had superseded it by around 1912. Records retained the largest market share when new formats such as the compact cassette were mass-marketed. By the 1980s, digital media, in the form of the compact disc, had gained a larger market share, the vinyl record left the mainstream in 1991. Since the 1990s, records continue to be manufactured and sold on a smaller scale, are used by disc jockeys and released by artists in dance music genres, listened to by a growing niche market of audiophiles; the phonograph record has made a notable niche resurgence in the early 21st century – 9.2 million records were sold in the U.
S. in 2014, a 260% increase since 2009. In the UK sales have increased five-fold from 2009 to 2014; as of 2017, 48 record pressing facilities remain worldwide, 18 in the United States and 30 in other countries. The increased popularity of vinyl has led to the investment in new and modern record-pressing machines. Only two producers of lacquers remain: Apollo Masters in California, MDC in Japan. Phonograph records are described by their diameter in inches, the rotational speed in revolutions per minute at which they are played, their time capacity, determined by their diameter and speed. Vinyl records may be scratched or warped if stored incorrectly but if they are not exposed to high heat, carelessly handled or broken, a vinyl record has the potential to last for centuries; the large cover are valued by collectors and artists for the space given for visual expression when it comes to the long play vinyl LP. The phonautograph, patented by Léon Scott in 1857, used a vibrating diaphragm and stylus to graphically record sound waves as tracings on sheets of paper, purely for visual analysis and without any intent of playing them back.
In the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008. Along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound. In 1877, Thomas Edison invented the phonograph. Unlike the phonautograph, it could both record and reproduce sound. Despite the similarity of name, there is no documentary evidence that Edison's phonograph was based on Scott's phonautograph. Edison first tried recording sound on a wax-impregnated paper tape, with the idea of creating a "telephone repeater" analogous to the telegraph repeater he had been working on. Although the visible results made him confident that sound could be physically recorded and reproduced, his notes do not indicate that he reproduced sound before his first experiment in which he used tinfoil as a recording medium several months later.
The tinfoil was wrapped around a grooved metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately; the Scientific American article that introduced the tinfoil phonograph to the public mentioned Marey and Barlow as well as Scott as creators of devices for recording but not reproducing sound. Edison invented variations of the phonograph that used tape and disc formats. Numerous applications for the phonograph were envisioned, but although it enjoyed a brief vogue as a startling novelty at public demonstrations, the tinfoil phonograph proved too crude to be put to any practical use. A decade Edison developed a improved phonograph that used a hollow wax cylinder instead of a foil sheet; this proved to be both a better-sounding and far more useful and durable device. The wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century. Lateral-cut disc records were developed in the United States by Emile Berliner, who named his system the "gramophone", distinguishing it from Edison's wax cylinder "phonograph" and American Graphophone's wax cylinder "graphophone".
Berliner's earliest discs, first marketed in 1889, only in Europe, were 12.5 cm in diameter, were played with a small hand-propelled machine. Both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality. In the United States in 1894, under the Berliner Gramophone trademark, Berliner started marketing records of 7 inches diameter with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them. Berliner's records had poor sound quality compared to wax cylinders, but his manufacturing associate Eldridge R. Johnson improved it. Abandoning Berliner's "Gramophone" tradem
Grammy Award for Best Female R&B Vocal Performance
The Grammy Award for Best Female R&B Vocal Performance was an honor presented at the Grammy Awards, a ceremony established in 1958 and called the Gramophone Awards, to female recording artists for quality R&B songs. Awards in several categories are distributed annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position."According to the category description guide for the 52nd Grammy Awards, the award was presented to artists that performed "newly recorded solo R&B vocal performances". Solo numbers by members of an established group were not eligible for the award as "separate entries from the duo or group performances." Albums were considered for the accolade until 1992. As a part of the major overhaul of Grammy categories, the award was discontinued in 2011; the Female R&B Vocal Performance category, Male R&B Vocal Performance category and all duo/group vocal performances in the R&B category shifted to the Best R&B Performance category in 2012.
The award for the Best Female R&B Vocal Performance was first presented to Aretha Franklin at the 10th Grammy Awards ceremony in 1968 for the song "Respect". Franklin received the most wins followed by Anita Baker with five. Franklin holds the record for the most nominations with twenty-three, while Chaka Khan is second with eight nominations. Fantasia Barrino became the final recipient of the award, when her song "Bittersweet" won the award in 2011; the award was presented to artists from the United States each year. ^ Each year is linked to the article about the Grammy Awards held that year. List of artists who reached number one on the Billboard R&B chart List of Grammy Award categories List of number-one rhythm and blues hits Official site of the Grammy Awards I
Straight from the Heart (Patrice Rushen album)
Straight from the Heart is the seventh studio album by American recording artist Patrice Rushen, released on April 14, 1982, by Elektra Records. It features her most recognizable song, "Forget Me Nots", the oft-sampled "Remind Me" and the popular instrumental workout "Number One". Straight from the Heart scored Rushen her first two nominations at the 1983 Grammy Awards for Best Female R&B Vocal Performance for "Forget Me Nots" and Best R&B Instrumental Performance for "Number One"; the album is Rushen's most successful album to date, peaking inside the top 20 of the Billboard 200 chart at number 14. The success of "Forget Me Nots" is considered the major contributor to the album's popularity at the time of its release. In a contemporary review for The Village Voice, music critic Robert Christgau gave Straight from the Heart a "C+" and said that he prefers side one's "dancy vamp" over the songwriting on side two by Rushen, whom he called a fashionable "ingenue". In a retrospective review, AllMusic's Andy Kellman gave it four out of five stars and called it "an early-'80s jazz-pop-R&B synthesis as durable and pleasing as any other".
In 2018, Pitchfork ranked Straight From the Heart #194 on its list of the 200 Greatest Albums of the 1980s. Patrice Rushen: lead and backing vocals, electric piano, acoustic piano, horn arrangement, vocal arrangement, synthesizer arrangement, guitar Charles Mims Jr.: electric piano, horn arrangement, backing vocals, acoustic piano, synthesizer arrangement Ollie E. Brown: drums James Gadson: drums Melvin Webb: drums Tony St. James: drums Paulinho Da Costa: percussion Ulysses Duprée: percussion Freddie "Ready Freddie" Washington: bass Paul Jackson, Jr.: guitar, acoustic guitar Wali Ali: electric guitar Marlo Henderson: lead guitar, guitar solo Gerald Albright: saxophone Ray Brown: trumpet Clay Lawry: trombone, bass trombone Roy Galloway: backing vocals, lead vocals, vocal arrangement Jeanette Hawes: backing vocals Lynn Davis: backing vocals Karen Evans: backing vocals Brenda Russell: backing vocals Executive Producer: Patrice Rushen Produced by Patrice Rushen and Charles Mims Jr. Recorded by Peter Chaikin Additional Recording by Philip Moores Assistant Engineer: Greg Stout Re-Mixing: F. Byron Clark.
Mastering: John Golden at K-Disc Mastering. Copyist: Greg Modster Art Direction: Ron Coro Design: John Barr and Ron Coro Photography: Bobby Holland Straight from the Heart at Discogs