A great album and the release that made Roberta Flack a major soul and R&B artist in the early '70s. She had a soft, compelling, alluring voice, and was able to convincingly switch gears and also convey anger, regret, hurt, or despair. Those who thought Flack was a one-hit wonder, or didn't think she could make the transition from doing mostly jazz to other styles, were convinced otherwise.
' song catalog is one of the best-known and revered bodies of work in the whole of modern music, and the depth, variety, and timelessness of the songs this once-in-a-lifetime band produced make that catalog both a marvel and a treasure. Everyone knows these songs, and everyone knows them in the original Beatles versions. Those versions are there, shining in stone, and even when they show up in remixes like in the recent LOVE mashup, the original recordings echo unshakably in the mind. knows this. On , she tackles 12 of the group's songs - 11 written by and and one written by George Harrison - and she knows full well that she's dealing with the ghosts of the original versions.
In 1988, Roberta Flack made a comeback after a long hiatus away from the recording studios with a new album of songs in the adult contemporary vein. Using a vast array of top session musicians whose names would easily fill a page and crowd out liner notes, "Oasis" was released to public indifference, even though the title track did hit #1 on the R & B charts.
By the '90s, Roberta Flack had completely immersed herself in the adult contemporary portion of the radio world, and this 1991 album is concrete proof of that. Largely based on collaborations with fellow adult radio singer Maxi Priest, Set the Night to Music is an odd assortment of standards with a few new compositions thrown in here and there for good measure. No doubt, the album's title track is the standout hit, and one of the biggest commercial successes in Flack's esteemed career. But there are also small surprises here and there on the album, including a stirring rendition of Nat King Cole's "Unforgettable" and the Bell-Creed Philly soul classic "You Make Me Feel Brand New." The production values and choice of instrumentation give this album a slightly dated feel, with a greater emphasis placed on polished synthesizers over the warm tones of a Fender Rhodes or grand piano, but all in all it's a strong album that presents Flack's classy, distinct vocal styling in a palatable fashion.