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Mitchell ropes in the loud blues and soul leanings that made her previous album so much fun, and the singer herself emotes in a much more restrained pop vein.
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Checkout.comThough the album finds Osborne a blues-belting, soul-sizzling, R&B vocalist... most of the songs just don't work in spite of the fact that all of Osborne's ducks (lyrics, music, arrangements and production) are lined up nicely.... Osborne's musical diversity and experimentation are brave actions in the face of the smothering homogeneity that continues to invade the art form, but even the most excellent elements will fall to certain ruination if miscombined.
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Osborne still sings well, but, apart from the late swamp-dirty sequence of Baby Love, Hurricane and Poison Apples, deadly rock orthodoxy prevails.
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SpinDespite some bold, funkdafied grunting, it never really gets up off the downstroke... the bar-band bluster only blunts her individualism, making for music that's less Take Back the Night than the Night Belongs to Michelob. [Oct 2000, p.184]