Laura Branigan

Whatever Jeff Porcaro did was nothing short of spectacular. His superb technical drumming prowess really shone forth in the hundreds of different recording sessions for artists like Sandi Patti. Madonna and many many others and different genres of music. He leaves behind a vast discography of albums that feature his remarkable ability to adapt his style and groove. He will always continue to appear every night in my dreams forever and ever playing drums on my heartstrings. Still a legend in his own time and truly missed by all that knew and loved him. 📱💜🎻🎸🎹🐱❤️🎼💙💛🎷💽🐈🐯😏📀😇🎧🎺💚😈💿🎤📲😂. As always . Signed a forever fan of Jeff Porcaro

This 1990 release was to be Laura's last album for the Atlantic label and ultimately her last lp, she had signed to Joan Jett's Black Heart label just before succumbing to a brain aneurism but just before her signing to that label Laura re-recorded two of her biggest hits "Gloria" and "Self-Control" arranged hi-energy and released as an ep on an independent label. I remember "Moonlight On Water" on the radio and it was a modest hit and for some inexplicable reason was left off her Greatest Hits comp released on Atlantic. Had "Moonlight" been included her hits cd would have been a perfect collection. I for one wish Atlantic would do a remaster overhaul of Laura's rather limited catalog complete with the rare extended remixes of her hit singles. Her voice is forever stilled but she leaves behind a decent body of work.

After the messy "Touch" album, Atlantic Records further proved they really had no idea how to market their talented artist, the lovely Laura Branigan. Her bigger hits were disco/dance ditties, but she was great doing ballads. Perhaps rock? Funk? Their answer was to have her do it all, resulting in 3 well-meaning, but incoherent albums. (Touch, Laura Branigan, Over My Heart). 1990's self-titled album is probably the strongest of the three as a proper album, but once again disco sits uneasily next to rock and pop ballads. Again, it features songs that would later be covered by another artist to bigger success (in this case, Unison, done by Celine Dion later). In my humble opinion, the stronger tracks are the synth-dance numbers, really the field Laura should have made her mainstay. Still, there are great songs on here (most a bit dated by now) and her voice and delivery awesome.

This is no ordinary collection. Along with no less than four Laura-branded covers, comes the passion, soul and depth that only Laura can deliver. Laura is the master of the gritty, gutsy and deep vocal flourish. It works so well for this set that, like "Touch" from 1987, this album is an instant classic. What raises this collection to high plateaus are her treatments of four classic tracks: "Moonlight On Water" (from Kevin Raleigh), "The Best Was Yet To Come" (Bryan Adams), "Unison" (Junior) and "Turn The Beat Around" (Vickie Sue Robinson). In all four of these covers, it's Laura's ability to take command of the vocal terrain that shines these to a high polish. This covers quadruplet showcases the true Branigan flair, passion, soul and verve that brings out the unmistakable character and life these songs deserve. These four covers are enough to prove Laura's talent, depth and longevity. The remainder of this stash lives up to the Branigan name without a doubt! Both "Never In a Million Years” and "No Promise, No Guarantee" are prime examples of why Laura sets the stage for the Top 40, Top 40/Dance and Dance genres. Highlights include "Never In A Million Years," "Reverse Psychology" and "Smoke Screen"