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Jazz - Released January 1, 2006 | Verve

At a time when most of her contemporaries are satisfied reliving their glory years to appreciative audiences in casinos and theaters, Gladys Knight continues her refusal to be pigeonholed as a soul singer. With 2000's At Last, she returned to the mainstream R&B circuit with a session of adult contemporary R&B that was equally accessible and refreshing, and with 2005's One Voice she collaborated with the Saints Unified Voices for a fiery gospel and praise record. So this time around, Knight recruited legendary producer Phil Ramone and an impressive lineup of jazz musicians to record an album of jazz ballads and standards that influenced her during the formative years of her singing career. At first, the prospect of Knight's soulful, gritty vocal styles taking on some of jazz's greatest moments may be a questionable proposal for jazz purists, but all hesitation can be safely swept aside during the album's opening moments, a fantastic rendition of the Ellington classic "Do Nothing Till You Hear from Me." Gone are the grit and raspy nature of Knight's voice, and in their place is a smooth, sultry set of vocal cords safely in control of the delivery of the material. Every single song here is already a bona fide hit, and Knight does them all justice in a way few soul singers could. Wonderfully relaxing, classy, and pleasantly void of vocal histrionics, Before Me is another important chapter and highlight in a career that is chock-full of them. ~ Rob Theakston
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R&B - Released August 21, 2014 | The Greatest Hits

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R&B - Released November 7, 2014 | Legacy Recordings

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Some Gladys Knight fans think that she didn't record as a solo artist until the early 1990s. But in fact, her first solo albums came in the late 1970s, when she provided 1978's Miss Gladys Knight for Buddah and 1979's Gladys Knight for Columbia. Neither album was a huge seller; only her most diehard fans bought the LPs. The singer's second, and self-titled, solo album isn't remarkable, but is a generally decent effort that ranges from R&B/adult contemporary ballads ("You Loved Away the Pain," "I Just Want to Be With You," "My World") to up-tempo soul-disco offerings like "You Bring Out the Best in Me" and "You Don't Have to Say I Love You," both of which would appeal to a Loleatta Holloway or Thelma Houston fan. Meanwhile, the vibrant, Earth, Wind & Fire-ish "It's the Same Old Song" isn't unlike something that EWF leader Maurice White would have produced for the Emotions in the late 1970s, and Knight's version of Leiber & Stoller's "I (Who Have Nothing)" recalls her dramatic 1964 hit "Giving Up." This LP, which she produced with Jack Gold, isn't recommended to casual listeners, who would be much better off with an anthology of her classic Motown and Buddah recordings with the Pips. But it's a likable record that is worth hearing if you're among Knight's hardcore fans. ~ Alex Henderson
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R&B - Released January 1, 2001 | Geffen

At Last, Gladys Knight's first studio album since 1995, offers a much-welcomed return by the gifted vocalist who easily adapts to contemporary music without compromising her signature sweet tones. The 13 tracks featured on At Last are a blend of mid-tempo R&B fare and ballads. Because Knight seamlessly incorporates a 2001 music sensibility to this recording, At Last can comfortably sit alongside works by Destiny's Child, Toni Braxton, Faith Evans, and other younger musical counterparts. Single releases from this album will be right at home on R&B and urban radio stations. Being out of the studio for six years has had no effect on Knight, as she is in top form. Her voice is rich, soulful, and silky as she grooves on such tracks as "If I Were Your Woman II" and "Greatest Love of All." "Grandma's Hands" takes a more soulful, gospel-like turn, with words reminiscent of Southern ragtime blues. References to fried bacon, Sunday morning, and church imagine a Southern lifestyle deeply rooted in family and religion. "Love Hurts" sees Knight's voice full of emotion as she offers a nurturing and sage perspective on matters of the heart. Actor Jamie Foxx takes a turn on the mic with Knight on "I Wanna Be Loved." It's the album's one mildly uncomfortable moment because Foxx lacks the power and presence to hold his own alongside Knight. His voice just disappears on this duet. At Last marks a refreshing return by Gladys Knight, who doesn't miss a beat. ~ Liana Jonas
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R&B - Released January 1, 1994 | Geffen*

On Just for You, Gladys Knight is joined by some of the most successful producers in the urban contemporary field, including George Duke, Jimmy Jam & Terry Lewis, Babyface (who had parted company with L.A. Reid) and Attala Zane Giles. The result is a decent R&B/pop effort that, although not in a class with Knight's classic Motown and Buddha recordings with the Pips, has more strengths than weaknesses. The singer's voice had held up impressively well over the years, and she uses it advantageously on a superb cover of the Impressions' 1969 classic "Choice of Colors" (clearly the highlight of the CD), as well as such memorable offerings as the gospel-influenced "Guilty" (a commentary on racism and sexism that makes its point without preaching) and the stirring ballad "Home Alone." The CD isn't essential, but it's generally honest, well-executed and satisfying. ~ Alex Henderson
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Pop - Released April 1, 1978 | Buddah - Legacy

The year 1978 saw the release of no less than three new albums by Gladys Knight and/or the Pips. Together, they recorded The One and Only for Buddah -- and the albums they recorded separately were the Pips' Callin' on Casablanca and Knight's Miss Gladys Knight on Buddah. This vinyl LP was Knight's very first solo album; not until 1990 did she become a full-time solo artist and part company with the Pips for good. Produced by Gary Klein or Tony Macaulay, Miss Gladys Knight usually finds the singer walking a fine line between R&B and adult contemporary. "It's a Better Than Good Time," which she also recorded with the Pips for The One and Only, is an appealing, string-laden soul-disco item that would have been perfect for Loleatta Holloway, Linda Clifford, Thelma Houston, or Gloria Gaynor. But that danceable song isn't representative of the record on the whole. This is primarily an album of ballads, and tracks like "I'm Still Caught Up With You" and "We Don't Make Each Other Laugh Anymore" have one foot in R&B and the other in adult contemporary. Although pleasant and decent, Miss Gladys Knight isn't a masterpiece and isn't among her essential recordings. This album is only recommended to collectors, who should be aware of the fact that in 1994, Castle reissued Miss Gladys Knight and The One and Only back to back on a single CD. ~ Alex Henderson
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R&B - Released January 1, 1998 | Many Roads P&D - MCA

Incredibly gifted and prolific soloist Gladys Knight released her first inspirational album in 1998. While many of her past albums carried music of significance, rightfully earning her a place in the Rhythm & Blues Hall of Fame and the Rock & Roll Hall of Fame, this is the first album on which she focused entirely on the spiritual side of music. And yes, this is the same Gladys Knight as Gladys Knight & the Pips. As one would expect from a seasoned artist like Knight, the entire album is musically sound from a critic's standpoint, and the messages of the lyrics leave an indelible impression on the listener. One song stands out for its danceable music, but deeply important message -- "Everybody." She relates an experience of chatting with an ignored homeless man and sings the reminder: Everybody needs someone to hold on to/Everybody needs someone to love them true/Everybody needs someone to treat them right/How about you/How about you. The music on this album cannot be neatly confined to any one genre. It has a little bit of soul, a bit of rock, and a bit of gospel. And the result is an album that has a huge amount of appeal for not only her longtime fans, but for the new audience she attracted in 1997 when she joined the Church of Jesus Christ of Latter-Day Saints. It's representative of a new focus at that time of her life, but is not representative of her entire body of work. For a Christian seeking something a little less stodgy, this album will be a welcome addition to their collection. ~ Dacia A. Blodgett-Williams
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R&B - Released November 21, 2001 | Geffen

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R&B - Released July 2, 1991 | Geffen

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R&B - Released January 1, 2012 | Modern Art of Music

Soul - Released May 4, 2018 | Innovation 360

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R&B - Released September 25, 2015 | Humble Dreamz Music Group - WCMC

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R&B - Released July 1, 2016 | Hudson VanDam