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On Satisfied, she works best when her ballads and balls collide. First single "Beautiful" does the trick, with its ladies-night bounce and clap-happy chorus. Louis Virtel Barnes & Noble
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April 24, 2008: I must be honest that this is my first taylor dayne album that isn't a greatest hits collection. Every song is good and easy to listen to. She sounds wonderful on every song. It may have been 10 years since her last album but it was worth the wait. You won't regret buying this if you do! A must have for adult contemporary/soul fans!
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February 25, 2008: This cd is awesome. I love it. Taylor dayne is back and it is like she hasn't even been gone. The songs are great, the artwork is beautiful. This is a must have for any taylor dayne fan or any fan of pop divas. I love the song "beautiful". It is a great song. Taylor dayne never disappoints when she sings. She is a true icon in the music industry.
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On Satisfied, she works best when her ballads and balls collide. First single "Beautiful" does the trick, with its ladies-night bounce and clap-happy chorus. Louis Virtel
There's no denying that Taylor Dayne sounds older on Satisfied, her first album in a decade -- that maturity is especially apparent as her music remains tied to her late-'80s heyday, as it's almost all big, bright productions that sound more 1988 than 2008. As it turns out, that evident maturity winds up benefiting Dayne tremendously: by not chasing trends, she sounds as if she's deepening emotionally but, more to the point, she no longer oversings. There is a warm, rounded, tonal quality to her voice, a quality that is especially welcome as she often could sound too harsh and brassy on her '80s hits. Here, she's settled down and so have the songs; they're undeniably retro dance-pop and that retro element gives them a smooth, easy feel. And Satisfied is produced as a pop album -- there is no song longer than 4:33 and most are under four minutes -- which helps keep things moving and also means that missteps, like the ungainly reggae of "She Don't Love You," don't stick around too long. While Dayne does a nice job with covers of "Under the Bridge" and "Fool to Cry," the real noteworthy numbers here are her fine original "Beautiful," a ballad called "Kissing You" co-written by Des'ree, and "My Heart Can't Change," a piece of near-perfect pop co-written by Gregg Alexander and Rick Nowels. These are the most fully realized tunes here, but most of this is enjoyable and it adds up to a good, worthy comeback from Dayne. Stephen Thomas Erlewine
Loading...Album Credits | ||
| Performance Credits | ||
| Taylor Dayne | Primary Artist, Vocals, Background Vocals | |
| Nicki Richards | Background Vocals | |
| Rusty Anderson | Electric Guitar | |
| Curt Bisquera | Percussion, Drums | |
| Jeff Bova | Keyboards | |
| John Hill | Synthesizer, Bass Guitar, Keyboards | |
| Eric Kupper | Bass, Guitar, Keyboards | |
| Mike Mangini | Vocals | |
| John McCurry | Bass, Guitar, Bass Guitar | |
| Rick Nowels | Acoustic Guitar, Keyboards | |
| John Pierce | Bass, Bass Guitar | |
| James Poyser | Drums, Keyboards | |
| Stephanie McKay | Background Vocals | |
| Brent Paschke | Guitar | |
| Kevin Hanson | Guitar | |
| Teron Beal | Background Vocals | |
| Dave Sharma | Drums | |
| Raymond Angry | Keyboards | |
| Sy Smith | Background Vocals | |
| Peter Wade Keusch | Synthesizer, Keyboards | |
| Caesar Griffin | Percussion, Drums | |
| Julio Reyes Copello | Piano | |
| Owen Biddle | Bass, Bass Guitar | |
| Dean Reid | Electric Guitar | |
| Honey Larochelle | Background Vocals | |
| Adam Pallin | Keyboards, Overdubs, Keyboard Overdubs | |
| John Hill | Synthesizer, Bass, Keyboards | |
| Michelle Lynn Bell | Background Vocals | |
| Jayms Madison | Background Vocals | |
| Justin Rothberg | Guitar | |
| Al Nilo | Guitar | |
| Teron Beal | Background Vocals | |
| Sharmaji | Percussion | |
| Julio Reyes Copello | Piano | |
| CFos | Background Vocals | |
| Pete Ianaconni | Bass Guitar | |
| Jayms Madison | Background Vocals | |
| Sizzler Ponderosa | Background Vocals | |
| Wells Cunningham | Cello | |
| Technical Credits | ||
| Taylor Dayne | Executive Producer, Audio Production, Vocal Producer | |
| Luis Angel | Engineer | |
| John Hill | Programming, Audio Production | |
| Ted Jensen | Mastering | |
| Mike Mangini | Producer, Audio Production, Vocal Producer | |
| James Poyser | Programming, Producer, Audio Production | |
| Howie Bend | Engineer | |
| Brent Paschke | Producer, Engineer, Audio Production | |
| Richie Jones | Producer, drum programming, Audio Production | |
| Brian Porizek | Art Direction | |
| Kieron Menzies | Engineer | |
| Ryan Moys | Engineer | |
| Peter Wade Keusch | Programming, Producer, Audio Production | |
| Zukhan Bey | Producer, drum programming, Audio Production | |
| Julio Reyes Copello | Producer, Engineer, Orchestration | |
| Dean Reid | Engineer | |
| Adam Pallin | Programming | |
| John Hill | Programming, Producer, Engineer | |
| Diego Vega | Orchestration | |
| Hitesh Ceon | Audio Production | |
| Julio Reyes Copello | Audio Production | |
| Luigie Gonzales | Audio Production | |
| R-Rated | Audio Production | |
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