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Pop - Released March 28, 2014 | Epic - Legacy

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Pop - Released May 6, 2016 | Epic - Legacy

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Country - Released May 6, 2016 | Rhino

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With Detour, Cyndi Lauper is most definitely looking toward Nashville. It is from the Mecca of country music that the singer has put together this album on which she revisits Hard Candy Christmas written by Carol Hall and popularized by Dolly Parton. As she said herself, this album is intended as a "tribute to a time when country and rhythm'n'blues were close." The great Willie Nelson made the trip to appear on the track on Night Life in a duet with Lauper. "When he came in, I almost cried," declared the singer of Girls Just Want To Have Fun... But the most rebellious of country singers is not the only guest on the record, with Cyndi Lauper also inviting Emmylou Harris (Detour), Vince Gill (You're the Reason Our Kids Are Ugly), Jewel (I Want To Be A Cowboy's Sweetheart) and Alison Krauss (Hard Candy Christmas).
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Pop/Rock - Released October 27, 1998 | Epic

Cyndi Lauper closed out her Epic Records contract with this holiday album, which consists mostly of original compositions. Lauper seeks the Christmas spirit in some snowless locales, giving a Cajun sound to "Early Christmas Morning" and an appropriately tropical feel to "Christmas Conga." She favors folkie arrangements and is heard playing dulcimer, recorder, and ukulele, among other instruments, which lend a homemade feel to the tracks. Merry Christmas...Have a Nice Life! is an unusual but ultimately winning collection, rendered with Lauper' s typical cockeyed conviction. ~ William Ruhlmann
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Pop/Rock - Released November 18, 2005 | Epic - Daylight

Cyndi Lauper looks back at her hits on The Body Acoustic, with a number of guests including Adam Lazzara, Shaggy, Sarah McLachlan, Vivian Green, Ani DiFranco, and Jeff Beck. Conceptually, this looks like a disaster. Alanis Morissette did it as well and the results were mixed at best. But Lauper has always possessed a talent that goes beyond the material she has sung -- and she can sing anything. The album is produced by Lauper with Rick Chertoff and William Wittman -- who recorded and mixed the disc. Lauper's band is a wide and varied assortment that includes contemporary jazz bassist Mark Egan. "Money Changes Everything," with Lazzara, is a down-home calypso and country ramble. "All Through the Night," with Shaggy, begins as an Appalachian folk tune until Shaggy begins toasting and Lauper shifts it into ballad gear. It's a conflicting set of styles that's held together in the genuine ache of her voice. "Time After Time" would be a beautiful song in anybody's hands. Here, with McLachlan, she goes down into the tune's lyrics and abandons the drama of the original for the intimacy of its words. The human heart becomes the interlocutor of memory and loss. Lauper and McLachlan trade verses as 12-strings, muted drums, and space define the place where lost love becomes the center of the question of devotion across time and space. "She Bop" is almost a blues song, and as a result it reveals deep eroticism as the pleasures and sweet release of masturbation fall from the singer's voice like raw honey. And so it goes with "Above the Clouds," as Beck's trademark biting tone is juxtaposed against piano and space. This is a ballad that actually hurts. Its drama is realized in Lauper's phrasing and Beck's playing bites harder accentuating it -- relaxed, slow, and deeply emotive. "Sisters of Avalon" features soul chanteuse Green and DiFranco. It's funky as hell. Deep roiling bass pops and drones with acoustic guitars, fiddles, and a dulcimer moving through and around it. The drums fall just behind the beat as the singer goes for the crack in the lyrical spine of the track. The chorus-like refrain punches up its drama. Green takes her verse before an instrumental slide guitar interlude, and her wailing voice makes it among the album's best. Lauper sings without friends on a number of cuts as well, such as the beautiful "Colors" and the stunning "Fearless." This may be a slanted look at a greatest-hits package, but it comes off as an entirely new album full of adventure, grit, polish, and soul. ~ Thom Jurek
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Pop/Rock - Released April 23, 2003 | Epic - Legacy

Competing nicely with the earlier Time After Time: The Best of Cyndi Lauper, Columbia/Legacy's The Essential Cyndi Lauper features most of the '80s icon's big hits as well as lesser-known album tracks. Considering the inconsistent nature of Lauper's albums, it is nice to find tracks like "Girls Just Wanna Have Fun" and "True Colors" packaged alongside "Sisters of Avalon" and "Who Let in the Rain." Most Lauper fans will already own these songs, but for casual fans, The Essential Cyndi Lauper will do the trick. ~ Matt Collar
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Pop/Rock - Released October 14, 1986 | Epic

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There were a few years in the mid-'80s when one couldn't go out for a cup of coffee without encountering Cyndi Lauper in one form or another. Her videos were playing constantly on MTV, her music was everywhere on the radio, and, best of all, children were even dressing up as Cyndi for Halloween. In retrospect, it was a Lauper-ish time but it was all over quite quickly; in fact, the period in the ultra-limelight didn't even span the period covered by two album releases, which means that this follow-up to her smash debut album was relegated to the also-ran pile, with sad results such as only one sort-of hit single (the title track) and nobody apparently interested in imitating the skirt she wore on the back cover photo, which seems like it is made of slashed-up concert posters. Kind of a shame since so much love and attention went into this album. Guest stars and high-dollar session musicians abound, including other '80s icons such as the Bangles and the manic Pee Wee Herman, who provides a great little answering-machine bit at the end of "911." Lauper is a fantastic vocalist, meaning that any record producer worth hiring would be happy to dream up endless settings for her. This album is nothing if not ambitious, and some of the stretches really pay off, such as the ultimately endearing cover of Marvin Gaye's "What's Going On." Other aspects date badly. For example, highly reverberated and artificial sounding drums and keyboards were really popular at the time, but a vocalist with a clear voice such as Lauper sounds much better in the context of real instruments with their warmer sounds. When it comes to tunes such as the nice Cajun number "The Faraway Nearby," drums should have been turned way down and other instrumental colors brought up. Despite these sorts of problems, there really wasn't that much music recorded by this artist during her most popular period, so fans will no doubt want to own it all. ~ Eugene Chadbourne
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Pop - Released July 19, 1994 | Epic

Regrettably bypassing the Top Ten hit "The Goonies 'R' Good Enough," Twelve Deadly Cyns features almost all of Cyndi Lauper's Top 40 hits, tacking on a handful of new tracks at the end, including "Hey Now (Girls Still Wanna Have Fun)," an updated version of her breakthrough hit single, "Girls Just Wanna Have Fun." As hits collections go, the album is fine, but with the exception of the ballad "True Colors" and the pop confection "Change of Heart," all of her finest songs and biggest hits were on She's So Unusual, which is a more consistent and entertaining album. ~ Stephen Thomas Erlewine
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Pop/Rock - Released November 18, 2003 | Epic - Daylight

As the girl who just wants to have fun, Cyndi Lauper became an '80s music icon with her flamboyant style, powerful baby-doll voice, and quirky songs, but as time and tastes moved on, her playful persona wore thin and attempts at becoming a more serious artist failed to regain her dwindling audience. With At Last, Lauper steps even further away from that playful image to become the girl who just wants to sing as she tackles a set of pop standards that showcase her underrated voice. Although occasionally shrill and reckless, Lauper's forceful tones can be quite moving and awe-inspiring when corralled into the proper setting, as with her bluesy take on Etta James' "At Last." With its lazy tempo and minimal arrangement, Lauper is able to relax and convey the lyrics in one of her most mature and affecting performances. Even more low-key is the whisper quiet of "Walk on By," in which she turns Dionne Warwick's midtempo gem into a dark tale of mourning by sadly singing the lyrics over a crawling tempo. Getting a Tori Amos-style ballad treatment is the Animals' "Don't Let Me Be Misunderstood," which lets Lauper's rock roots rise to the surface with her edgy performance. While some of her song choices work, others fall flat, like "La Vie en Rose," in which her slightly ragged reading is too rough for the delicate song. Also misfiring is her corny duet with Tony Bennett, "Makin' Whoopee," where the voices of these two New Yorkers clash like stripes and plaids. Lauper also has a little too much fun with Maurice Williams & the Zodiacs' "Stay," as she reverts back to her boisterous voice of yesteryear and disrupts the mature tone of the disc. Although the results are mixed, At Last does focus on Cyndi Lauper's best asset -- her voice -- and may help to rejuvenate a career in which the personality unfortunately overshadowed the talent. ~ Aaron Latham
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Pop/Rock - Released May 23, 2008 | Epic

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Pop - Released May 9, 1989 | Epic

On True Colors, Cyndi Lauper began to edge her way into adult contemporary territory, but it was on her third album, A Night to Remember, that she concentrated all of her attention on becoming a self-consciously "mature" singer/songwriter. A Night to Remember doesn't always work, but not because she's incapable of performing polished, well-crafted middle-of-the-road material -- "Time After Time" and "True Colors" prove that she could convincingly deliver ballads. Instead, the album bogs down because it assumes that labored arrangements and precisely detailed production are tantamount to musical sophistication. That said, there are some moments -- such as the seductive "I Drove All Night" -- that make a lasting impression, illustrating what Lauper was attempting to achieve with the record. ~ Stephen Thomas Erlewine
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Pop/Rock - Released March 1, 1993 | Epic

After Cyndi Lauper's disappointing A Night to Remember release, she took matters into her own hands for 1993's Hat Full of Stars, giving more of her attention to the writing and to the album's overall musical appearance. Unfortunately, the same results resurfaced, and the album failed to give Lauper a single, which at least A Night to Remember did. Hat Full of Stars has Lauper all over the map, converging into folk, soul, and other styles that have her sounding out of context and diluted. Many of the tracks have Lauper singing about social issues, and although it's a valiant effort, the seriousness just doesn't comply with her persona or her customary flamboyancy. Even with the help of Ron Hyman and Eric Bazillian, tracks like "Product of Misery" and "Someone Like Me" fail to get off the ground, mainly because of their tone and heavy lyrical weight. The title track and "That's What I Think," along with "Sally's Pigeons," make for the most promising of the 11 cuts, even though "Who Let in the Rain" and "A Part Hate" are courageous attempts. Sounding a little too driven and like she has something to prove, Lauper's adroitness seems forced to a certain degree, and the chemistry that is endeavored falls short of its mark. Cyndi Lauper sounds much more appealing and enjoyable as an effervescent pop singer wading through simplistic and feel-good material rather than trying to befriend mildly opinionated pieces, which is what happens throughout most of Hat Full of Stars. ~ Mike DeGagne

Pop - Released June 1, 2016 | SnapShot

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Country - Released May 6, 2016 | Rhino

A spiritual sequel of sorts to Memphis Blues, Detour finds Cyndi Lauper swapping out blues for country & western. The "western" part of the equation is crucial to Detour, a record equally enamored of cowboy camp as it is of Music City craft and corn. Such a wide purview is testament to Lauper's taste-savvy show biz sensibilities, but by balancing ballads with riotous romps, she winds up with a bit of a mess on her hands. On their own, the slow-burning-torch set pieces of "End of the World" and "I Fall to Pieces" have their charms -- they offer ample evidence of Lauper's nuance and control, elements that are often underrated -- but when paired with the ferocious, mincing wink of "You're the Reason Our Kids Are Ugly," "Cowboy Sweetheart," and "Detour," the spell is broken. Matters aren't helped much by the presence of Dolly Parton's "Hard Candy Christmas" -- a fine, faithful rendition that closes off the record on a sweet note --= and the crisp, digital modern sheen of the opener "Funnel of Love," elements that pull Detour even further down a winding backroad. Such sudden shifts in tone might work better on-stage than they do on record, and with its cavalcade of guest stars, Detour often does play a bit like a stage revue, for better or worse. After all, much of Lauper's charm lies in her innate theatricality, and when she's paired with someone who shares her humor -- Emmylou Harris on "Detour" and, especially, Vince Gill on "You're the Reason Our Kids Are Ugly" -- there's a crackling vitality that nevertheless winds up diluting the diva showstoppers, something that could possibly be finessed on-stage but seems like a sharp turn on record. Nevertheless, on a track-by-track level, Detour has a few stumbles -- the biggest is "Night Life," and that's due to the gravelly growl of Willie Nelson, not Lauper -- and if it's taken as a collection of performances and not a coherent record, it's fun. ~ Stephen Thomas Erlewine
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Pop - Released November 4, 2008 | Epic

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Pop/Rock - Released July 1, 1996 | Epic

Cyndi Lauper made a valiant effort to jump start her career with the varied and eclectic Sisters of Avalon. Working with producer Mark Saunders, Lauper attempts to work worldbeat, adult alternative, and even trip-hop influences into her trademark adult contemporary pop, and while the results aren't always successful, the record is the most intriguing and rewarding album she made since True Colors. ~ Stephen Thomas Erlewine
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Pop - Released January 1, 2010 | EMI Mexico

Booklet
There is no doubt that Cyndi Lauper can sing almost anything and make it not only compelling, but her own (and she has, many times, whether her albums sold or not). Arguing her gift as a vocalist is pointless. That said, her sense of direction is always a question. Thanks to her appearance on the television program Celebrity Apprentice, her public profile is once more part of mainstream pop culture. So of all the albums to make -- Memphis Blues is her eleventh -- why a blues record now? True, she gets help from some big names: Charlie Musselwhite, Allen Toussaint, B.B. King, Ann Peebles, and Jonny Lang, but in the end, she has to carry these performances herself. The set begins with Little Walter Jacobs' "Just Your Fool" featuring Musselwhite's muscular harmonica, but Lauper's vocal is thin, reedy, and doesn't carry authority in the lyric -- particularly not when juxtaposed against that harmonica. Far better is Louis Jordan's "Early in the Morning" with King and Toussaint. The interplay between the latter's rumbling, New Orleans R&B piano and the former's sparse but mean lead guitar works well with Lauper's vocal, especially with the tune's humorous lyrics. "Romance in the Dark" is one of three cuts Lauper and her band cut without any cameos, and it works wonderfully. Its slow, nocturnal, languidly sexy feel underscores her strengths as a singer. The uptempo, soul-drenched "Don't Cry No More" works equally well, thanks to her having to get atop a rollicking Stax-style horn section and testify. "Rollin' and Tumblin'," with Peebles, is strong and authoritative; it's a unique version even if their voices don't always meld. Her two selections with Lang are as cliched and nondescript as electric blues gets these days: a waste. There is real beauty in "Mother Earth," however, with Toussaint playing his most sympathetic, in-the-cut blues piano as a horn section matches Lauper's unique, off-kilter phrasing and winds it into the blues. In the end, while Memphis Blues does have some fine moments, the uneven ones makes it feel like a squandered opportunity at a popular comeback. ~ Thom Jurek
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Film Soundtracks - Released January 18, 2019 | Musicor

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Pop/Rock - Released July 2, 2002 | Oglio

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Country - Released February 18, 2016 | Rhino

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