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A Love Supreme (Chanté Moore album)
1994 studio album by Chanté Moore From Wikipedia, the free encyclopedia
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A Love Supreme is the second studio album by American singer Chanté Moore.[1] It was released by Silas Records and MCA Records on November 15, 1994, in the United States. The album peaked at number 20 on the UK R&B Albums chart and number 11 on the US Billboard Top R&B/Hip-Hop Albums chart.[2][3]
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Background and release
A Love Supreme features production from Simon Law, Moore, Ross Anderson, Jimmy Jam and Terry Lewis, Kenneth Crouch, Kipper Jones, Tricky Stewart, among others.[1]
Promotion
The album was preceded by the release of lead single "Old School Lovin'." Released on October 22, 1994 in the United States, it became Moore's third top 20 hit on the US Hot R&B/Hip-Hop Songs chart, following "Love's Taken Over" (1992) and "It's Alright" (1993).[4] Follow-up single "This Time" was issued on May 26, 1995. While it was less successful on the R&B charts, it became Moore's first top hit on Billboard's US Dance Club Songs chart.[5] "Free"/"Sail On," a medley/mash-up of the Deniece Williams song "Free" and the Commodores song "Sail On," served as the album's third single. The song peaked at number 11 on the Dance Club Songs chart.[5] Fourth and final single "I'm What You Need," released on July 21, 1995, reached number 14 on the US Adult R&B Songs chart.[6] Album cut "Mood" had previously appeared on the soundtrack to the 1994 feature film Beverly Hills Cop III, released on May 10, 1994.[7]
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Critical reception
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A Love Supreme earned largely favorable reviews from music critics. Michael Eric Dyson, writing for The New York Times, called A Love Supreme a "fine album" and wrote: "Like Ms. Moore's 1992 debut album, Precious, A Love Supreme measures the distance between explicit sexuality and the sophisticated romanticism that shapes her restless pursuit of perfect love."[10] Billboard found that Moore's "sophomore set is paced by thoughtful, romantic song and succulent arrangements. Though tempered somewhat to garner younger demos, the 15-track set remains true to the artist's core audience. Album has excellent crossover potential — not due to creative compromise. Rather, elegant production styling and simple but expressive vocal renderings yield broad-ranging appeal."[11] People called A Love Supreme "a classic soul affair," comparing 'Moore's supple, relaxed singing style" to a "a young Diana Ross with more lung power." Further praising Moore's vocal performance, the magazine noted that "she builds up a romantic sweat while keeping her vocal cool [...].[12]
Sherrie Winston of the Sun Sentinel found that throughout A Love Supreme "Moore combines sultry vocals with lyrics of chivalry, romance and spirituality. The singer's range is phenomenal; her style undeniable." Winston further described the album as "a mellow listen that layers gritty island sounds with singing violins and harps. If the rap infusion has got you down, Moore offers a mellow, sexy and talented reprieve", delivering "its message with subtlety. The way it used to be."[13] Washington Post critic Richard Harrington called the album "a beautifully crafted song-cycle tracing the evolution of a romantic relationship [...] Given the number of producers involved – some 15 in all – it's remarkable that the album has thematic and sonic unity [...] While Moore is clearly capable of Minnie Ripperton-style heights into the stratosphere she communicates greater emotional presence by riding slow, deep grooves that allow her to sing with smoldering commitment."[14] Similarly, Sonia Murray of The Atlanta Journal-Constitution wrote, "Putting this album on is like pressing play on the romance machine. Moore, the closest thing R&B has to a modern-day Minnie Ripperton, weaves her vocal gift around valentine after valentine on A Love Supreme."[9]
AllMusic said, "On A Love Supreme, Chante Moore's supple, sensuous vocals snake around jazzy, R&B mid-tempo grooves, in search of the perfect love. From the sultry, spoken opening where she unmistakably states her modern-day intentions to the old phono recording scratches of 'Old School Lov', Chante searches, preys, teases, romances, and snares."[8]
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Chart performance
A Love Supreme debuted and peaked at number 64 on the US Billboard 200 in the week of March 12, 1994.[15] It also opened at number 11 on the Top R&B/Hip-Hop Albums chart.[16] This marked Moore's second top 20 entry on the chart.[16] A Love Supreme also became the singer's first album to debut in the United Kingdom. While it peaked at number 144 on the UK Albums Chart,[3] it fared better on the UK R&B Albums Chart, reaching number 20.[3] Billboard ranked the album 55th on its 1995 Top R&B/Hip-Hop Albums year-end chart.[17]
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Track listing
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Notes
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Personnel
- Mark Abetz – engineer
- Judi Acosta-Stewart – production coordination
- Scott Alspach – producer
- Michael Alvord - assistant engineer
- Ross Anderson – bass, drum programming, guitar, mixing, producer
- Philip Bailey – guest artist, vocals (background)
- Tom Baker – assistant engineer
- Gary Barnacle – flute
- Harvey Brough – string arrangements
- Alexandra Brown – vocals (background)
- Bridgette Bryant – vocals (Background)
- James "Chip" Bunton – production coordination
- David Campbell – string arrangements
- Bryan Carrigan – second engineer
- Teddy Castellucci – guitar
- Richard Cottrell – engineer
- Kenneth Crouch – multi instruments, producer
- Paulinho da Costa – percussion
- Kevin "KD" Davis – engineer, mixing
- Sean Davis – assistant engineer
- C.J. DeVillar – assistant engineer
- George Duke – guest artist
- Derrick Edmondson – saxophone
- Danny Flynn – stylist
- Gwyn Foxx – vocals (background)
- Jud J. Friedman – keyboards, producer, string arrangements
- Siedah Garrett – guest artist, vocals (background)
- Sean "Sep" Hall – producer, programming, rhythm arrangements, sequencing, vocal arrangement
- Lee Hamblin – drum programming, engineer, mixing, producer
- Cynthia Harrell – vocals (background)
- Kuk Harrell – engineer, producer, vocal arrangement
- Steve Hodge – mixing
- Jean-Marie Horvat – mixing
- John Howcott – drum programming, keyboard programming, producer
- Richard Huredia – mixing assistant
- Phillip Ingram – vocals (background)
- Booker T. Jones – mixing
- Kipper Jones – guest artist, producer, vocals (background)
- Pat Karamian – assistant engineer, second engineer
- Brian Kilgore – percussion
- Simon A. Law – bass, drum programming, keyboards, mixing, producer, string arrangements
- Eugene Le – second engineer
- Maxayn Lewis – vocals (background)
- Jeff Madjef Taylor – asst engineer/drum programming
- Eugene Lo – second engineer
- Chris London – assistant engineer
- Chanté Moore – executive producer, primary artist, producer, vocal arrangement, vocals, vocals (background)
- Taavi Mote – engineer
- Fred Moultrie – executive producer
- Steve Musters- assistant engineer
- Rick Nelson – vocals (background)
- Michael Norfleet – multi instruments, producer
- Emanuel Officer – producer, vocal arrangement
- Steve Orchard – engineer
- Sue Owens – production coordination
- Donald Parks – drum programming, keyboard programming, producer
- Greg Phillinganes – keyboards
- Neil Pogue – engineer
- Herb Powers – mastering
- Adrian Reid – Fender Rhodes
- Kevin Robinson – flugelhorn
- Matthew Rolston – photography
- Jeff Scantlebury – percussion
- Louis Silas, Jr. – executive producer
- Christopher "Tricky" Stewart – producer, programming, rhythm arrangements, sequencing, vocal arrangement
- Laney Stewart – engineer, producer, programming, sequencing, vocal arrangement
- Reggie Stewart – drum programming, keyboard programming
- Lisa Taylor – vocals (background)
- Francesca Tolot – make-up
- Simon Wall – assistant engineer
- Ilene Weingard – art direction, design
- Warren Woods – engineer
- Gavyn Wright – conductor
- Jim "Z" Zumpano – engineer
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Charts
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References
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