Paula Abdul

Reviewed on this page:
Forever Your Girl - Spellbound - Head Over Heels

Long before her erratic antics on American Idol, Paula Abdul made her name as a choreographer, working on videos by Michael Jackson, Janet Jackson, and various non-Jacksons. Then she became a singing star in her own right, and as a singer she's strictly a choreographer: her voice is so thin you can't believe modern recording techniques are being used - she makes Latoya Jackson sound like Mahalia Jackson. (Okay, no more Jackson references, I promise.) Abdul can't write or play a note either, but who cares? The 90s, like preceding decades, were about attitude and style, and most importantly, hooking up with the right writers and producers. She's done that successfully enough to sell millions of albums, all three of which, for one reason or another, I've spent good money on. Now you can profit from my mistakes. (DBW)

Forever Your Girl (1989)
I don't care what anyone says, "Straight Up" was the best single of 1989: a magical blend of distorted guitars, insidious keyboard hooks, and crashing programmed drums, written and produced by Elliot Wolff. Wolff's other contribution to the disc is the lame "Cold-Hearted" - the plurality of the tracks are by Oliver Leiber, who mostly sticks with uptempo Jimmy Jam/Terry Lewis ripoffs like the singles "The Way That You Love Me" (the record's second-best track) and "Opposites Attract," though he occasionally slows the pace for a downtempo Jam/Lewis ripoff (title track). LA Reid & Babyface contribute one track, the forgettable "Knocked Out." Occasionally annoying late 80s pop, lifted above the pack by "Straight Up." (DBW)

Spellbound (1992)
Boldly enough, Abdul jettisoned all the producers from her debut in favor of Peter Lord, V. Jeffrey Smith and Sandra St. Victor, who had recorded together as The Family Stand. But the end product sounds pretty much the same - which is to say, pretty much like Janet Jackson. The new team wrote most of the tracks, including the big hits: the singsong "Promise Of A New Day" and the ballads "Rush Rush" and "Will You Marry Me?" with laid-back harmonica by Stevie Wonder. The most interesting track is probably Prince's "U," with a minimal electronic arrangement, complex chords, a nagging hook, and ludicrous spoken vocals. The album doesn't take enough chances to really fall on its face, but it won't make you smile, either. (DBW)

Head Over Heels (1995)
Her desire to emulate Janet has gotten way out of control, judging from the cover photos. Anyway, sales were disappointing compared with the previous two releases, but I can't see why: it uses exactly the same trailing-the-cutting-edge approach, mixing sappy ballads and strident dance tunes. It's more consistently listenable than Spellbound, though there still aren't any must-have cuts. The Family Stand is back on the embarrassing "Crazy Cool"; other producers include Elliot Wolff (the routine "Ain't Never Gonna Give You Up"), Rhett Lawrence (the hip hop-inflected "If I Were Your Girl"), Dallas Austin ("The Choice Is Yours," one of the disc's best tracks), Babyface protege Daryl Simmons ("I Never Knew It"), Tim Miner (his weepfest "Cry For Me") and the team of Howie Hersh, Iki Levy and Robb Boldt (several obvious uptempo jams, the worst being "Sexy Thoughts"). Lawrence's "My Love Is For Real" is the most venturesome track, incorporating Middle Eastern influences and even bringing in Ofra Haza to add some vocals. Unfortunately, Haza's presence only reminds you what a puny singer Abdul really is. Still, if you're a fan you won't go too far wrong here. (DBW)

The choice is yours.

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